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EAST AURORA HIGH SCHOOL BAND
Warm Up Book
Bassoon
Ta bl e o f Co nt e n t s
Fingering Chart .................................................. 1 Chorale and Recessional ........................... 66
Trill Fingering Chart .......................................... 2 Clarinet Caprice ........................................ 67
Scale Sheet ......................................................... 4 Echoes ....................................................... 68
36 Chorales for Band ......................................... 5 Let’s Take a Break .................................... 69
How To Use This Book .............................. 8 Manchester March ..................................... 70
Chorales 1, 2, 3 ........................................... 9 Old MacDonald’s Band............................. 71
Chorales 4, 5 ............................................. 10 Somerset Overture ..................................... 72
Chorales 6, 7 ............................................. 11 Those Fabulous Flutes............................... 73
Chorale 8 - Ode to Joy .............................. 12 Two Canadian Folk Songs ........................ 74
Chorale 9 - God Rest Ye ........................... 13 Westwind Overture ................................... 75
Chorale 10, 11 ........................................... 14 Yorktown March ....................................... 76
Chorale 12 - Be Thou My Vision ............. 15 Queenwood Developing Band Book #1 ........... 77
Chorale 13 - In the Bleak Midwinter ........ 16 Bumblebee Blues ...................................... 78
Chorale 14 - Chester ................................. 17 Canal Street Clambake .............................. 79
Chorale 15 - Ave Verum Corpus .............. 18 Charterpoint............................................... 80
Chorale 16 - Horkstow Grange ................. 19 Doo-Wah Dixieland .................................. 81
Chorale 17, 18 ........................................... 20 Emerald Point Overture ............................. 82
Chorale 19 - Prelude No. 20 ..................... 22 Fanfare and Fugue ..................................... 83
Chorale 20 - To a Wild Rose .................... 23 Greenbrier March ...................................... 84
Chorale 21, 22 ........................................... 24 Harrowgate Festival .................................. 85
Chorale 23 ................................................. 25 Lexington March ....................................... 86
Chorale 24 - Irish tune .............................. 26 Scarborough Fair ....................................... 87
Chorale 25 - Rhenish Symphony .............. 27 Silvergate Overture ................................... 88
Chorale 26 - Salvation is Created ............. 28 Song of the Flute ....................................... 89
Chorale 27 - Ave Maria ............................ 29 Three Hymns for Band .............................. 90
Chorale 28 - 3rd Tune ............................... 30 Triton ......................................................... 91
Chorale 29 - Largo .................................... 31 Two Songs of Nova Scotia ........................ 92
Chorale 30 - Come, Sweet Death .............. 32 Technique & Musicianship .............................. 93
Chorale 31 - Chorale from Jupiter ............ 33 Slurs & Technique....................................... 2
Chorale 32 - In the Village........................ 34 Concert Bb Major Studies ........................... 8
Chorale 33 - Ein Feste Burg...................... 36 Concert G Minor Studies........................... 10
Chorale 34 - Christ lag in Todesbanden.... 37 Concert Eb Major Studies ......................... 12
Chorale 35 - Symphony No. 2 Vocal ........ 38 Concert C Minor Studies ........................... 14
Chorale 36 - Symphony No. 2 Brass......... 39 Concert F Major Studies ........................... 16
Whole Notes in Half Steps ............................... 40 Concert D Minor Studies........................... 18
S.A.M. (Smooth Air Movement ...................... 41 Concert Ab Major Studies ......................... 20
Flexibility for Band .......................................... 42 Concert F Minor Studies ........................... 22
Natural Lip Slurs for Band ............................... 44 Concert Db Major Studies ......................... 24
Scale Fluency in Bb Major .............................. 46 Concert Bb Minor Studies ......................... 26
Scale Fluency in Ab Major .............................. 48 Concert C Major Studies ........................... 28
Scale Fluency in G Major ................................ 50 Concert A Minor Studies........................... 30
Chromatic Confidence ..................................... 52 Concert G Major Studies ........................... 32
Major Scales: Chromatic Order ....................... 53 Concert E Minor Studies ........................... 34
Rhythm Training in Bb Major ......................... 54 Concert D Major Studies ........................... 36
Harmony Training in Bb .................................. 56 Concert B Minor Studies ........................... 38
Tuning for Each Instrument ............................. 57 Tuning & Intonation .................................. 40
Balance Training .............................................. 58 S.A.T.B. Chorales ..................................... 41
Scale Training .................................................. 60 Circle of Fourths/Circle of Fifths .............. 42
Queenwood Beginning Band Book #1............. 61 Scales Circle of Fourths - Major ............... 43
Anasazi...................................................... 62 Scales Circle of Fourths - Minor ............... 46
Bartok: Folk Song and Dance ................... 63 Rhythm Studies ......................................... 49
The Buglers ............................................... 64 Function Chorales ......................................... End
Chant and Praise ....................................... 65
Bassoon
36 Chorales
For Band
By
Aaron Cole
Version 1.0
Decoygrape Productions
Table of Contents
1. I – IV – V – I p. 1
2. Canon in D by Johann Pachelbel p. 1
3. Circle of Fifths Chorale p. 1
4. Augmented 6th Cadence p. 2
5. Tallis Canon by Thomas Tallis p. 2
6. Suspensions p. 3
7. Old Hundredth by Loys Bourgeois p. 3
8. Ode to Joy by Ludwig Van Beethoven p. 4
9. God Rest Ye Merry Gentlemen p. 5
10. Amazing Grace by John Newton p. 6
11. Music for Queen Mary by Henry Purcell p. 6
12. Be Thou My Vision p. 7
13. In the Bleak Midwinter by Gustav Holst p. 8
14. Chester by William Billings p. 9
15. Ave Verum Corpus by Wolfgang Amadeus Mozart p. 10
16. Horkstow Grange in the style of Percy Grainger p. 11
17. Chaconne from the First Suite in Eb by Gustav Holst p. 12
18. Finlandia by Jean Sibelius p. 12
19. Prelude No. 20, Opus 28 by Frederic Chopin p. 14
20. To a Wild Rose by Edward McDowell p. 15
21. Nimrod from the Enigma Variations by Edward Elgar p. 16
22. Blessed are They That Mourn by Johannes Brahms p. 16
23. Chant Funaire by Gabriel Faure p. 17
24. Irish Tune from County Derry p. 18
25. Rhenish Symphony Mvmt. 4 Opening by Robert Schumann p. 19
26. Salvation is Created by Pavel Tchesnokov p. 20
27. Ave Maria by Sergei Rachmaninoff p. 21
28. 3rd Tune by Thomas Tallis p. 22
29. Largo from Symphony No. 9 by Antonin Dvorak p. 23
30. Come, Sweet Death by J. S. Bach p. 24
31. Chorale from Jupiter by Gustav Holst p. 25
32. In the Village by Modeste Mussorgsky p. 26
33. A Mighty Fortress is our God arr. J. S. Bach p. 28
34. Christ Lay in Death’s Bonds by J. S. Bach p. 29
35. Symphony No. 2 Vocal Chorale by Gustav Mahler p. 30
36. Symphony No. 2 Brass Chorale by Gustav Mahler p. 31
How to use this book
For bassoon players
1. The TENOR and BASS parts are your main parts
a. Sometimes, the bass part is provided in two different
octaves (high and low). It is your choice.
2. The SOPRANO and ALTO parts are just there so you can
see what the others are doing
3. When a part gets too high or too low, little CUE NOTES
are provided so you can always play with a GOOD
SOUND
4. Sometimes, you’ll see a note in parenthesis ( ). You
generally cannot play these notes because they are too
low. Usually, they are there just to show you where the
actual part should go.
2 3 4 5
S
1
I - IV - V - I A
(1 - 4 - 5 - 1)
T
A simple chord
progression
B
1 2 3
2 S
Canon in D A
by
Johann Pachelbel T
(ca. 1680)
B
1 2 3
4
3 S
Circle of Fifths A
Chorale
T
A common
sequence
B
Written by Aaron Cole - Released for free through Decoygrape Productions
under the Creative Commons License - CC BY-NC-ND (2011)
2
1 2 3 4
4 S
Augmented 6th A
Cadence
T
A special type
of cadence
B
1 2 3
S
5
Tallis Canon A
by
Thomas Tallis T
(ca. 1560)
B
4 5 6 7 8
S
A
T
B
3
1 2 3
6 S
Suspensions A
(Preparation T
Suspension
Resolution)
B
1 2 3
4 5
7 S
Old Hundredth A
by
Loys Bourgeois T
(1551)
B
6
7
8
9
10 11 12
S
A
T
B
4
1 2 3 4 5
8 S
Ode to Joy A
by Ludwig
Van Beethoven
T
(1824)
B
6 7 8 9 10 11
S
A
T
B
12 13 14 15 16
S
A
T
B
5
1 2 3 4
S
9
God Rest Ye A
Merry Gentlemen
(Traditional) T
(First published
in 1833) B
5 6 7 8 9 10 11
S
A
T
B
12 13 14 15 16 17 18 19
S
A
T
B
6
1 2
3 4 5 6
10 S
Amazing Grace A
by
John Newton T
(1779)
B
7 8 9 10 11 12 13 14 15
S
A
T
B
1
2
3
4
S
11
Music for A
Queen Mary
by T
Henry Purcell
(1694)
B
7
5 6 7 8 9 10
S
A
T
B
1 2 3 4 5 6 7
S
12
Be Thou A
My Vision
(Traditional T
originally
titled "Slane")
B
8
9
10 11 12 13
14
15 16
S
A
T
B
8
1 2 3 4
13 S
In the Bleak A
Midwinter
T
Gustav Holst's
setting
(1906) B
5 6 7 8 9 10
S
A
T
B
11 12 13 14 15 16
S
A
T
B
9
1
2
3
4 5
14 S
Chester A
by
William Billings T
(1778)
B
6 7 8 9
10 11
S
A
T
B
12 13 14
15 16
S
A
T
B
10
1 2 3 4
15 S
Ave Verum A
Corpus
by T
W. A. Mozart
(1791)
B
5 6 7 8 9 10
S
A
T
B
11 12 13 14 15 16
S
A
T
B
11
1 2 3
16 S
Horkstow A
Grange
collected by T
Percy Grainger
(1906)
B
4 5 6 7 8 9
S
3
A
T
3
3
B
Horkstow Grange is a folk tune that Percy Grainger collected in 1906 by recording George Gouldthorpe. It is the
tale of how a waggoner, John "Steeleye" Span,and his foreman, John Bowlin', fell out and came to blows.
Gouldthorpe informed Grainger that Steeleye Span resented John Bowlin's harsh treatment and, burning with
resentment, Span wrote this song. The words are set to the tune of a ballad about naval mistreatment
"Andrew Rose, the British Sailor". No other variants of this song have been found.
Horkstow Grange is a house and range of farm buildings situated about half a mile north of Saxby All Saints. Those
who have researched the songs have produced no written evidence of these men or indeed
any local memory of them other than in this song.
Grainger recorded Gouldthorpe singing "Horkstow Grange". Gouldthorpe had a strong
North Lincolnshire accent and takes the song at a brisk pace.
Grainger's arrangement of the song for his "Lincolnshire Posy Suite" (1937) is very different. Grainger slows the song
down considerably giving it a stately feel. This is arguably the greatest transformation of any Grainger arrangement
and he deserves credit for creating such a fine piece from such as a fragmentary song.
( http://www.lincolnshireassembly.com/section.asp?docId=79588 )
12
1 2 3
S
17
Chaconne A
from the
First Suite in Eb T
by
Gustav Holst
(1909) B
4 5 6 7 8
S
A
T
B
1
2 3 4
18 S
Finlandia A
by Divisi
Jean Sibelius T
(1900)
B
13
5 6
7 8
9 10 11 12
S
A
T
B
13 14
15 16
17 18
S
A
T
B
19 20 21 22 23
S
A
T
B
14
1 2 3 4
19 S
Prelude No. 20 A
Opus 28
by
T
Frederic Chopin
(1839)
B
5 6 7 8
S
A
T
B
9 10 11 12 13
S
A
T
B
15
1 2 3 4 5 6 7 8
20 S
To a Wild Rose A
by
Edward
T
McDowell
(1896)
B
9 10 11 12 13 14 15 16 17 18 19
S
A
T
B
20 21 22 23 24 25 26 27 28 29 30 31
S
A
T
B
16
1 2 3 4
S
21
Nimrod A
from the
Enigma Variations T
by Edward Elgar
(1899)
B
5 6 7 8 9
S
A
T
B
1 2 3 4 5 6
S
22
Blessed are They A
That Mourn
by T
Johannes Brahms
(1868) B
17
7 8 9 10 11 12 13
S
A
T
B
1 2 3 4 5
S
23
Chant Funeraire A
from the Op. 117
Cello Sonata
T
by Gabriel
Faure (1921)
B
6 7 8 9 10 11 12
S
A
T
B
18
1 2 3
S
24
Irish Tune from A
County Derry
(Grainger's
T
Setting
1911)
B
4 5
6 7
8
S
A
T
B
9
10 12
11
S
A
T
B
19
13 14 15 16
S
A
T
B
1 2 3
S
25
Rhenish SymphonyA
Mvmt. 4 Opening
by
T
Robert Schumann
(1850)
B
4 5 6
S
A
T
B
20
1 2 3 4 5
S
26
Salvation is A
Created
by Pavel T
Tchesnokov
(1912)
B
6 7 8 9 10 11 12 13
S
A
T
B
14 15 16 17 18 19 20 21
S
A
T
B
21
1 2 3 4
27 S
Ave Maria A
from Op. 37
Vespers T
by Sergei
Rachmaninoff
(1915) B
5 6 7 8
S
A
T
B
9 10 11 12 13
S
A
T
B
22
1 2 3 4 5 6
28 S
3rd Tune from A
the 9 Psalm Tunes
for Archbishop T
Parker's Psalter
by Thomas Tallis
(1567) B
7 8 9 10 11 12 13 14 15 16 17
S
A
T
B
18 19 20 21 22 23 24 25 26
S
A
T
B
23
1 2 3 4
29 S
Largo from A
Symphony No. 9
by
T
Antonin Dvorak
(1893)
B
5 6 7 8
S
A
T
B
9 10 11 12
S
A
T
B
24
1 2 3 4 5
6
30 S
Come, Sweet Death A
Come Blessed Rest
by
T
J. S. Bach
(1736)
B
7 8 9 10
11 12 13 14
S
A
T
B
15 16 17
18 19 20 21
22
S
A
T
B
25
1 2 3 4 5 6
S
31
Chorale from Jupiter A
by
Gustav Holst T
(1916)
B
7 8 9 10 11 12 13 14 15
S
A
T
B
16 17 18 19 20 21 22 23 24
S
A
T
B
26
1 2 3 4
32 S
In the Village A
by
Modeste T
Mussorgsky
(1880)
B
5 6 7 8 9 10
S
A
T
B
11
12 13
14 15 16
S
A
T
B
27
17 18 19 20
S
A
T
B
21 22 23 24
S
A
T
B
28
1 2 3
33 S
BWV 80.8 A
Ein Feste Burg ist
unser Gott T
(A Mighty Fortress
is our God)
J.S. Bach (1731) B
4 5 6 7 8
S
A
T
B
9 10 11 12
S
A
T
B
29
1 2 3
S
34
BWV 4.8 A
Christ lag in
Todesbanden T
(Christ lay in
Death's Bonds)
J.S. Bach (1707) B
4 5 6 7
S
A
T
B
8 9 10 11 12
S
A
T
B
30
1 2 3 4 5 6
S
35
Symphony No. 2 A
Vocal Chorale
from the Finale T
by
Gustav Mahler
B
(1894)
7 8 9 10 11 12 13 14
S
A
T
B
15 16 17 18 19 20 21 22
S
A
T
B
31
1 2 3 4 5
S
36
Symphony No. 2 A
Brass Chorale
from the Finale T
by
Gustav Mahler
(1894) B
6 7 8 9 10 11 12
S
A
T
B
13
14
15 16
17
18 19
20
S
A
T
B
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
FUNCTION CHORALES™ by © Stephen Melillo IGNA 1980
Conductors, performing any “STORM” work have the composer/copyright holder’s permission to photocopy the Score &
Parts for the sole and specific use of their students and/or musicians residing in the organization which purchased an original
copy of the work from STORMWORKS®. Reproduction, arranging, transcribing or excerpting for any other purpose,
including transport to another location or organization is prohibited by law. Music which has been purchased in the Digital
Form may be printed with all rules pertaining to printed music still in effect.
All Rights Reserved. International Copyright Secured.
© Stephen Melillo/STORMWORKS® • stormworld.com
Dear Conductor...
We aspire to hear Music rendered with purity and precision. As a Composer, I long to hear Music as it
was meant to be heard... in tune, and beautifully intoned.
We ask kids... and professionals... to do this all the time. Yet, when have we given our young student
Musicians a crystalline-clear procedure, a well-defined, specifically articulated system to address the
most crucial aspect of Music making?
These are the FUNCTION CHORALES™. They can be rendered with 4 students, or delivered by the
forces of the Mahler 8th Symphony. They can be played by any group, at any age, and in any key.
Go through the book slowly so that you understand it well first. Then proceed with your students. I
have found this tool to be one of the most efficient, time-effective, task-oriented devices to date. I am
confident that you will hear the results while teaching your students valuable lessons about the inner
workings of Music. Carefully, patiently approached, the bridge between theory and practice will become
ever so clear.
If you have any questions along the way, please consider me a resource. I will be glad to assist you in
what certainly reveals itself as a noble pursuit.
Remember... there is much, much more here than meets the eye... or ear. Layer upon layer of Teaching
and Learning await you and your students. To that purpose...
Godspeed!
∕¤‹›
FUNCTION CHORALES™
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
is the Process, Music & Intellectual Property of © Stephen Melillo IGNA 1980
Abraham Lincoln said, “If I had 8 hours to cut a tree, I’d spend 6 sharpening the axe.”
Many directors feel the pressure of time, limited resources and support. FUNCTION CHORALES™ is an investment. By taking the time to accurately
teach and then reinforce the precepts embodied within these chorales, hours upon hours of otherwise useless rehearsal will be reclaimed and there will be
noticeable improvement in all of the Music that comes after and during.
The pages of this resource are occupied by brief, four-part chorales. These studies have been designed to help the ensemble instrumentalist learn and
eventually perfect concepts and specific skills in: SEEING where a Pitch will Sound, INTONATION, Ensemble Listening, TUNING, Vertical Hearing,
Knowledge of Function & Transposition, Knowledge of Progression & Harmony, Knowledge of Interval, & Knowledge of Inharmonic Devices such as
Suspension, Retardation and Passing Tone.
This learning process occurs while the ensemble is “warming-up”, the FUNCTION CHORALES™ serving to draw the student’s focus to the above-listed
concepts. By thinking numeric, mathematically pure FUNCTION, the student is able to SEE where the Music will sound in advance. Just as one sees a
target before aiming at it and then firing upon it, so must the Musician “hear” where a note is going to sound before it is played.
Each SATB Chorale contains functional representations of the vertical and horizontal sounds normally implied by music notation. These innocent-appearing
NUMBERS, enhanced by your continued and reinforcing guidance, help the student identify each sound as an “exact” place or point in SOUNDSPACE.
Because the notation is numeric, students can be directed to switch parts, reading different lines and experiencing a different role in the musical architecture.
At all times, students are encouraged to play in comfortable octaves. Do not worry about cross voicings. In fact, by allowing them to switch lines they will
soon discover the importance of voicing... or where a pitch has been purposefully, thoughtfully orchestrated.
The game, challenge and/or skill that you will continually pose, teach and reinforce is one of EXACTNESS. By means of this exactness, an ever-improving
intonation will reveal a more perfect and beautiful Music, a sound liberated from phasing frequencies, the cause of BEATING and immature ensemble sound.
This is the LONG RANGE GOAL and Purpose of the FUNCTION CHORALES™.
SHORT RANGE GOALS will embody the above mentioned concepts or skills while reinforcing the basic ideas of sound support and interval presented in
the next few pages. The exercises should be conducted slowly, with great regard given to Perfect Horizontal Tuning and Perfect, Just Vertical Intonation...
and to what was formerly called “balance”. The more preferred word is “Mix”. As students become familiar with the exactness of the pitches, you may then
add dynamic swells, tempo changes, and fermati as felt in the manner of the scale-warm-up provided as a Quicktime Movie at stormworld.com.
Once familiar with the process, you may wish to compose your own Function Chorale, or, as I have done with orchestral, concert and jazz ensemble students,
you may have each of them compose a Function Chorale. Music Education at its efficient best. The last page of this booklet, is therefore my favorite.
Enjoy & Godspeed! ∕¤‹›
Function Chorales... by © Stephen Melillo 1980... Page 3
The Next Step ... (and it is ALWAYS the Next Step!)
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
The Goal of the OVERTONE SERIES or Descending Scale “warm-up” if you have seen this demonstrated, is to HEAR and become abundantly familiar with
the PERFECT 5ths (and 4ths), holding it in Unison with the Ensemble, and moving it, from ONE, in the interval which is “perfectly” a Perfect 5th. Unlike the
temper-tuned piano, a 5th, when tuned, produces no waves or beating. It renders a still and “perfect” sound, so named by Pythagoras.
Once 8,5 and 1 are established, you will initiate a process whereby each NUMBER of the MAJOR SCALE is introduced, learned, rehearsed, tuned, and
approached with good intonation. NOTE: For clarity in explanation, 8 is used instead 1 to specify the octave. For those who have seen workshops, it is best
to begin on the top of the scale and work down for many reasons, including the first intervals experienced, the force of “gravity” in a musical phrase and the set
of the embouchure.
The following process may take days of investment. Strive for perfection. Make each step in the process a perfect one!
1. Play 8-5-1 ....................... hearing the perfect placement of the 5th as played in the Overtone Series Warm-Up.
2. Play 8-7-8-5-1 ................ hearing 7 as the leading tone to 1 or 8. The leading tone is a tuned minor 2nd. Reinforce listening for the half-step lead.
3. Play 8-7-8-7-6-5-1 .......... hearing 6 as the passing tone from 7, to 5 by a Major 2nd.
4. Play 5-8, then 1-4 ........... hearing a Perfect 4th, the inverse of a Perfect 5th, yielding an equally still, non-beating harmony.
5. Play 1-4-3-4 .................... hearing 3 as the leading tone to 4. The leading tone is the tuned minor 2nd rehearsed in item #2.
6. Play 8-7-8-7-6-5-4-3-4-3-2-1...........hearing each note as it FUNCTIONS, listening for INTONATION... making “perfect” Major and minor 2nds
............................................. which outline the Perfect 5ths and Perfect 4ths. Approach or “leave” the 5ths and 4ths with “leading tones” 3 and 7.
7. Play 1-4-3-4-3-2-1 .......... hearing 2 as a passing tone from 3, which then leads to 1. It “leaves” 1 and 3 by a Major 2nd.
8. Play 8-7-6-5-4-3-2-1 ...... hearing each note as it FUNCTIONS, listening for INTONATION... making “perfect” Major and minor
........................................ .... 2nds which outline the Perfect 5ths and Perfect 4ths.
9. Play 8-7-6-5-4-3-2-1 ...... in ANY KEY, improving knowledge of keys (all 15) and the CONCEPT of FUNCTION.
............................................. Then begin playing the scales in both directions.
10. Play 1-2-b3-4-5-b6-b7-8 . (or in reverse) introducing a NEW FORMULA and listening for the new minor 2nds and leading tones.
11. Play 1-2-b3-4-5-b6-7-8 . . (or in reverse) learning through function, the Harmonic Minor Scale.
12. Play 1-2-3-#4-5-6-7-8 .. . (or in reverse) learning through function, the Lydian mode, hearing #4 as a leading tone to 5.
13. EXPERIMENT and CREATE exercises, or rehearse SCALES each day. Express the musical operations as FORMULAE and/or FUNCTIONS. Play them
until the students are well immersed in the language of NUMBERS and understand the correlation, the isomorphic relation to another symbolic language... that
of music notation.
14. Play 1-2, then 1-3, then 1-4, then 1-5, then 1-6, then 1-7, then 1-8... Hearing each interval possible in the Major Scale, while holding a horizontal tuning with
the ensemble. By example, if a student plays 1 to 5, he/she has two points of reference and responsibility. One task is to move vertically from 1 to
5 in the interval that is perfectly a Perfect 5th. The other task is to listen across the ensemble horizontally to tune both the starting point 1 and the end point 5.
Function Chorales... by © Stephen Melillo 1980... Page 4
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
15. Play 1-b2, 1-2, 1-b3, etc... Hearing all of the CHROMATIC intervals from 1, tuning minor 2nds and all of the possible intervals resulting in a one
octave chromatic scale.
16. Divide the ensemble into TWO groups and write the following on the blackboard:
8-7-b7-6-5-4-3-2-1
1-2-3-4-5-6-b7-7-8
Play this in a march rhythm: q . e q . e e e e e q Play this in all keys.
17. Divide the ensemble into FOUR groups as per the Function Chorale Orchestration. Play the following CHORDS. Start in UNISON,
each voice proceeding to the targeted note, using FUNCTION and the reinforced understanding of INTERVAL.
b b b
1 1 1 1 7 7 7 7 6(bb7)
# b b b
5 5 5 5 5 5 5 5 5
1
b b b b b
3 3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1 1
18. Now go to FUNCTION CHORALE #1. This exercise will enable you and the students to play I-IV-V-I and then I-IV-ii-V-I in all keys.
Each chorale or exercise will explore other sounds, intervals and harmonies. Although ONE KEY is given for the guitar and keyboard, you may select
ANY key and use the materials to teach any concept you feel you need to communicate as a conductor. Do not worry about cross voicings. Have the
students play their lines in comfortable octaves, switching octaves when necessary. The resultant orchestration will exceed the music score which appears
at the bottom of each page. This serves only as a graphic illustration and reference. Have the students switch lines. This will reinforce the importance of
ALL parts in any given piece. Encourage Horizontal and Vertical accuracy, TUNING and INTONING respectively. Reinforce when investigating a
piece during rehearsal. Example: You are performing a transcription of the Mahler 3rd. You warm up using FUNCTION CHORALES, and establish a
good tonal sense. You then ask the students to repeat the chorale in Db. You then ask for the Mahler. They play. You stop them. You ask, “if the notes
you are reading were numbers, what would they be?” They answer. They smile. You replay. You hear the difference... and more importantly, so do
they! Example 2: Your 2nd trombone player is having trouble getting the suspension/resolution in tune. Why? Because he is not properly intoning the
intervals. Tell him, “Mike, it’s a 4-3 suspension. Make sure you hear the 4, then down a half-step for that 3. You know what to do.” And he will!
Function Chorales... by © Stephen Melillo 1980... Page 5
NOTES on THE FUNCTION CHORALES
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
Letters are used to draw distinction between the sections. This is because part of the FUNCTION CHORALE message is this: There is an EQUAL
amount of responsibility and importance on ALL parts or voices. Often 2nd and 3rd players feel less important, while many times they are playing the
ROOT of a chord, or a Suspension-Resolution, or the THIRD which defines the chord’s QUALITY. Often in these studies, there will be an OBLIQUE
motion in the TOP Part while the “2nds and 3rds” change harmonies and colors. Point this out to them.
Students should be directed to play in comfortable octaves, usually their LOWER OCTAVE. The tuba should be directed to play in the lower parts
of the instrument. The students should think of themselves as collaborative “orchestrators” and as such, make musical decisions about octave placement
and the optional switching of octaves during play.
• The Numeric notation has a CONTOUR which suggests the placement of the desired note.
Parts A and T players should further be directed to choose starting notes (regarding octave placement) which best support the sound of the whole, the
upper limit of which is defined by their voice S counterparts.
Section leaders are encouraged to communicate voicings to their sections should a question occur, and at all times, the creative input and involvement
of the students is welcomed and applauded. A BLANK SCORE PAGE is included for those individuals who would like to design their own
FUNCTION CHORALE.
(When I did this, in both concert and jazz band, each of the students composed his/her own Function Chorale which we then sight read. It was
great fun and we accomplished a great numeration of things, as well you can imagine, under the innocent auspices of “warm-up”!)
Players within sections should be encouraged to switch parts, reading different lines at different times. In this way, the student gains a more
consummate understanding, not only about elements of music but also about ensemble interplay and mutual importance.
While each FUNCTION CHORALE provides practice for the concepts and skills as presented earlier, the following list is provided. This index
will help you to localize specific attributes of a given chorale and aid in the planning and teaching process.
These FUNCTION CHORALES, though numbered, are NOT in any specific learning order. The first few, however, develop familiarity with the
process and notation. Feel free to mix and match as you see fit. Eventually, these chorales can be strung together to form extended works. Each chorale
can become a SECTION and plotted into a musical form, such as an ABA sonata form for example. The key to all of this is Creativity, Exploration
and Fun.
Function Chorales... by © Stephen Melillo 1980... Page 6
FUNCTION CHORALE Index
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
1. Accesses the IONIAN, PHRYGIAN and MIXO-LYDIAN modes in all keys, exposing the students to the Major-Minor Chords of the
Major Scale: I-ii-iii-IV-V-vi-vii-I.
2. Accesses I-IV-V-I and I-IV-ii7-V7-I in all keys as desired.
3. Utilizes a Plagal Cadence. IV-I.
4. Accesses all of the diatonic triads minus the vii chord while employing parallel motion in 3rds.
5. This is the same harmonic structure as in #4 but with Non-Harmonic Tones added. They are Passing Tones, Lower Neighbor Tones,
Suspension, Retardation, Appoggiatura and Anticipation. Identifying these non-harmonic tones by ear is more important than identifying them
by name.
6. Employs a b7 to create a modulation to IV. Also introduces #1 which allows the vi chord to be heard as a Major Triad and as a Dominant 7th.
7. Introduces b3 and b6, the modal variants.
8. Places an appoggiatura in the top voice. Moves 3rds, 5ths and 2nds in parallel motion. Illustrates intervals and chromatic cadence. In 3/4.
9. Starts on ii to illustrate that a tonal piece can begin on any chord. Rubato. Add dynamics. Uses b3, #5, b6.
10. A piece in G minor, or actually the RELATIVE minor when being transposed to other keys. Uses b3 and #5.
11. A piece which employs the Modal variants. Modulates to bVII. Uses b2, b3, b5, b6, b7.
12. Suspensions in voices B-C-D, modulating to iii. Uses #2, #4, b6.
13. Good interval study demonstrating ii-V-I cadence and iv (phrygian) V-I Cadence.
Function Chorales... by © Stephen Melillo 1980... Page 7
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
b
14. 6-3, a diminished 4th, sounds like a Major 3rd. Introduces the bVI chord and its brightness when played against the established tonality of
measures 1 and 2. The medient degrees of 3 and 6 are both altered.
15. Perfect 5th in voice A is accompanied by stepwise motion in B, C and D in an Eastern (Greek) mode. Good for practicing whole and 1/2 step
intonation. Uses b2, b3, b6, b7.
16. Introduces the NEAPOLITAN sound as a color to V. Introduces the Neapolitan as a Plagal feel cadence to I. DECEPTIVE
CADENCE to vi in measure 5. b2-7 sounds like a Major 2nd, but it is a diminished 3rd, characteristic of the Neapolitan sound.
Arpeggiated Major chord in measure 3.
17. Minor key as a resolution point demonstrating the interrelationship of the Major and minor. The linear BASS controls many of the
harmonic changes. A French Augmented 6th Chord is introduced in measure 4.
18. Over a PEDAL, the 7th chord’s QUALITY is changed by 1/2 step motion. Suspensions & Secondary Dominants modulate us to IV.
Uses b3,b5,b7.
19. Oblique (flat line) motion in A, moving through minor 2nds. Introduces #2, #4, #5. Introduces Secondary Dominants and V7 chords with the
root in the bass.
20. Introduces PEDAL. Introduces b2 and b7. Exposes the students to QUARTAL (chords built on 4ths, instead of thirds) harmonies while
modulating to IV.
21. Starting on biii, this chorale introduces the Phrygian iv and V chords. Illustrates Major-minor interplay using a new DOMINANT
tension. (The Phrygian V or Vo)
22. The I-v-I progression which I call the STORM Motif is abundant in much of my music for band and orchestra. I began playing this motif
when I first became interested in writing music. At the time, 1975-76, these were sounds that “I liked”. Later, I learned that this progression
of harmony was the I chord moving to its minor v chord, or the phrygian 5. This is a good warm-up for those bands playing Melillo pieces,
and I just had to include it. Godspeed.
Function Chorales... by © Stephen Melillo 1980... Page 8
1 2 3 4 5 6 7 1
SCALEWORKS™
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
FIRST STEPS are the most important! After thoroughly C C
exhausting one’s knowledge of all the fingerings of the full
range of chromatic notes on the given instrument, we fill out
the chart, using the musical alphabet and then applying the
C# C#
flats or sharps (the "puposefulls") as indicated in the box
chart. We then teach ourselves each scale by singing the letter
names while fingering the notes. “SING & FING”. This is
Db Db
done prior to any first attempt at playing the scale. Remember
that PRACTICE MAKES PERMANENT... not Perfect.
The scale must be pre-visited via the mind and fingers before
D D
it is played.
b's = B E A D G C F Eb Eb
#'s = F C G D A E B
The Key of C has No Sharps or Flats
E E
#'s b's F F
1 G F F# F#
Gb Gb
2 D Bb
G G
3 A Eb
Ab Ab
4 E Ab A A
5 B Db Bb Bb
6 F# Gb B B
Cb Cb
7 C# Cb
Function Chorales... by © Stephen Melillo 1980... Page 9
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
GETTING STARTED
Using the OVERTONE SERIES, have the students play 8-5-1 in: Concert Bb-A-Ab-G-Gb-F-E. The rhythmic pattern will be half-note, half-note, whole-note.
Trombone players will be using 1-2-3-4-5-6-7 slide positions, while 3-valve brass players use 0-2-1-12-23-13-123. Horn players can either play at the 4th, which
is what I do, or they can start the series on the 1st finger. Woodwinds may play only the TONIC, or play 8-5-1, or what is printed below as they become
thoroughly familiar. You can place a fermata on each whole note before proceeding to the next in sequence practicing air support, breath control and contour.
Below, is the OVERTONE SERIES Warm-Up which I use.
ú
&c ú l
Bb Brass will play this pattern using 0-2-1-12-23-13-123
_w " The Horns will play this as well, sounding at the 4th
bú ú
? l bw Bass Clef Brass will play this pattern using 0-2-1-12-23-13-123
" or Slide Positions 1-2-3-4-5-6-7
C woodwinds, in comfortable octaves Bb woodwinds, in comfortable octaves Eb woodwinds, in comfortable octaves
Ï Ï Ï
b Ï Ï Ï Ï Ï Ï Ï Ï &c
Ï Ï Ï Ï Ï w #
Ï Ï Ï Ï Ï Ï Ï Ï l
&b c
w l c w /
l / / &
### #### Ï Ï Ï Ï Ï Ï Ï Ï #### #
& Ï Ï Ï Ï Ï Ï Ï Ï l w / & # l
w
/ & # Ï Ï Ï Ï Ï Ï Ï Ï l w /
bb b Ï Ï Ï Ï Ï Ï Ï Ï l
b Ï Ï Ï Ï Ï Ï Ï Ï Ï
&b
w
&b
Ï Ï
& b w / l / Ï Ï Ï Ï Ï l w /
# ### ####
& Ï Ï Ï Ï
Ï Ï Ï Ï
l w / & Ï Ï Ï Ï Ï Ï Ï Ï l w / & Ï Ï Ï Ï Ï Ï Ï Ï l w /
bb b
bbb
& bbb Ï Ï Ï Ï Ï Ï Ï Ï l w / & bb Ï Ï Ï Ï Ï Ï Ï Ï l w / & bb Ï Ï Ï Ï Ï Ï Ï Ï l w /
# Ï Ï Ï ## Ï Ï Ï Ï _
Ï Ï Ï Ï w
&b Ï Ï Ï Ï Ï Ï Ï Ï l w / & Ï Ï Ï Ï Ï l w / & l /
_
Ï Ï Ï Ï
#### #### # bb Ï Ï Ï Ï w
& Ï Ï Ï Ï Ï Ï Ï Ï l w / & # Ï Ï Ï Ï Ï Ï Ï Ï l w / & bbb l /
Function Chorales... by © Stephen Melillo 1980... Page 10
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
A. Section Leader Tuning: A Concert Bb begins with the Tuba, moves upward to piccolo.,
B. Tune to your section leader in the following process, after they have tuned to the Tuba.
C. During Music, tuning is maintained by targeting your listening in this way:
Cross reference this tuning with INTONATION, the process of moving at the correct interval.
Cross reference this tuning to the lowest instrument playing during any given passage.
1 2 3
Individiual Responsibility: Achieve a still, waveless tuned sound.
4
Waveless TUNING Process
Pick a direction, Listen for waves. Make adjustment As waves get
either unmistakably with the barrel, slower, continue to
flat and under, or mouthpiece or move in this
sharp and above. slide. (Try to move direction until all
in one direction, waves are
like a professional eliminated.
?
photographer)
Tune to the line you are playing..
Tune to the section leader.
5 6 7 8
If you move If you find yourself If you find yourself When you and the
beyond the point of pinching your relaxing your ensemble play the
Tuned, waving embouchure to embouchure to same pitch, on
will speed up eliminate the eliminate waving, normal
again. This means waving, the your instrument is embouchures, and
you have gone instrument is too too short and must you can only hear
1:
2:
3:
4:
beyond and must long and must be be lengthened. one absolutely still,
move in the other shortened. wavless sound, you
direction. (Like are in tune.
Easter-Egg Hunt)
→ ← ← →
Function Chorales... by © Stephen Melillo 1980... Page 11
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Differences between TUNING & INTONATION (Page 1 of the Student Booklet)
The more correctly you, as a musician, approach the initial exercises provided by the conductor, the more ready you will be to meet the architectural challenges of
the horizontal and vertical process of Music.
INTONATION is VERTICAL
TUNING is HORIZONTAL INTONATION is the process of
TUNING is the process of matching a moving from a specific frequency or
frequency or pitch and thus implies more 1(8) pitch to another frequency or pitch
than one player. Experienced players 7 at a specific interval or distance.
tune to a “remembered” pitch. 6
w
5
Bb 4
3
2
Bb C D Eb F G A Bb
Your GOAL is to learn and improve: Your ability to SEE where a Pitch will Sound, INTONATION, Ensemble Listening, TUNING, Vertical Hearing,
Knowledge of Function & Transposition, Knowledge of Progression & Harmony, Knowledge of Interval, & Knowledge of Inharmonic Devices such as
Suspension, Retardation and Passing Tone.
S A T B
Piccolo (Flute Double) Flute 2 Clarinet 3 Bass Clarinet
Eb Clarinet Clarinet 2 Alto Clarinet Bassoon
Oboe Alto Sax 1 Alto Sax 2 Baritone Sax
Flute 1 Trumpet 2 Tenor Sax 2 Contra Bass Clarinet
Clarinet 1 Horn 2 Trumpet 3 Baritone
Trumpet 1 Trombone 1 Trombone 2 - 3 Euphonium
Horn 1 Tenor Sax 1 Horn 3 - 4 Tuba
Vibraphone (Soft Mallets) Violin 3 Marimba (Soft Mallets) PAD Bass
Violin 1-2 Viola Cello String Bass
Harp
Timpani
Function Chorales... by © Stephen Melillo 1980... Page 12
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
#1 "Modal Scales" by Stephen Melillo
RHYTHM h h h h h h h h
, h h h h h h h h
Ionian
1(8) 1(8)
7 7
S 2 3 4 5 6 6 5 4 3 2
1 1
Mixo-Lydian 5 5
4 4
A 5
6 7 1 (8) 2 3 3 2 1(8) 7 6
5
Phrygian
2 3 3 2
1(8) 1(8)
T 3
4 5 6 7 7 6 5 4
3
6 6
B 1
2 3 4 5 5
1 1
5 5 4 3 2
1
Chords in Bb Bb Cm Dm Eb F Gm F7 Bb Bb F7 Gm F Eb Dm Cm Bb
Analysis I ii iii IV V vi V7 I I V7 vi V IV iii ii I
ú ú
bb 4 ú ú ú ú ú ú ú ú ú ú
l& 4 ú
_
ú
ú
_
ú lúú ú lú ú lú l ú lú ú lú ú
ú l_ú
ú ú
_
ú l
l l l l l l l l l
l l lú ú l_ú ú
_ l_ú _
ú lú ú l l l
l ? bb 4 ú ú lú ú l l l lú lú ú lú ú l
4 ú
l _
_
ú _
_
ú l_ú _
ú lú lú _
_
ú l__
ú
ú l ú l_ú _
ú l__
ú _
_
ú l
Function Chorales... by © Stephen Melillo 1980... Page 13
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
#2 "Basic Change" by Stephen Melillo
RHYTHM w w h h w
, w w h h w
1(8) 1(8) 1(8) 1(8)
S 7
5
6 6
5 5
6
A 5 5 5 5
3
4 4 4
3
4
T 3 3
2
3
1 1 1
7
1
5 5 h h 5
B 1
4
1 1
4 3
2 1
Chords in Bb Bb Eb Bb F Bb Bb Eb Cm7 F7 Bb
Analysis I IV I6/4 V I I IV ii7 V7 I
bb 4
4 w w
w ú ú w
l& w l l ú ú l w l w
w l w
w l ú
ú úú l w
w l
l l l l l l l l l
l w
_ l _
w
_ l_ú _
ú l w
_ l w l w l ú l w l
ú
l ? bb 4
4 l l l l l l l l
l _
_
w l _
w l ú ú l _
_
w l _
_
w l_ú _
ú l__
ú ú l _
_
w l
Function Chorales... by © Stephen Melillo 1980... Page 14
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
#3 "Plagal Cadence" by Stephen Melillo
RHYTHM w w h h w
, w w w w w
3
2
S 1 1
7
1
7
6
1 1
6
5 5 5 5 5
A 4
3
4
3 3
2
T 1
7
1
7
1 1
1
7
B 6
5
6
3
4 4
1
Chords in Bb Bb F Eb F Gm Dm Eb Eb Bb
Analysis I V6 IV V vi iii IV IV I
bb 4 w w ú ú w w w w w
l& 4 w l w l w l w l w l w l w
w l w l w l
l l l l l l l l l l
l _w l _w l w l w l w l w l w l w l _w l
l ? bb 44 w l w l w l l w l l l l l
l l l l w l l _w l _w l _w l _w
_ l
Function Chorales... by © Stephen Melillo 1980... Page 15
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
#4 "Motion by Thirds" by Stephen Melillo
RHYTHM h h h h h h w
, h h h h h h w
1(8)
7
S 5
4
6
5
6 6
4
5
4
5 5
3
5
4 4 4
A 1
3
2
3
2
3 3
2 2
1
2
1 1 1 1
T 5
7
6
7
6
7
6 6
7
5
4 4 4
B 1
3
2
3
2
3
6
2
5
1
Chords in Bb Bb Dm Cm Eb F Dm Eb Eb Cm Dm Gm Cm F Bb
Analysis I iii ii IV V iii IV IV ii iii vi ii V I
bb 4 úú ú
l& 4 _úú úú l _úú úú l úú l w
w l úú _úú l úú ú l _úú _úú l w
w l
l l l l l l l l l
l úú l úú l _úú úú l w l ú l úú l ú l w l
l ? bb 44 úú l úú l l w l ú úú l ú l úú l l
ú ú _
_w
l l l l l l l l l
Function Chorales... by © Stephen Melillo 1980... Page 16
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
#5 "Motion by Thirds With Non-Harmonic Tones" by Stephen Melillo
RHYTHM q q h q q h h h h h
, q q h h h h q q w
1(8)
7
S 3
4
5 5
4
6
5 5
6 6 5
4
5
4 4
5 5
RHYTHM h h h h h h w q q h q q h h h h h
5
A 3
2
4
3
4 4
3
2
3
2
3
2 2
4
3
1
RHYTHM h q q h q q q q q q w q q q q h h h h w
3
T 7
6
1
2 2
1
7
1 1
7
6
7 7
6 6
7
1
5 5
RHYTHM h h h q q h h w q q h h q q q q h w
6 5
B 3
2
4
3
5
3
4 4
3
2
3
4
2
5
1 1
Chords in Bb Bb Dm Cm Eb F Dm Eb Eb Dm Cm Dm Gm Cm F Bb(4-3)
Analysis I iii ii IV V iii IV IV iii ii iii vi ii V I (4-3)
bb 4 ú
l& 4 Ïú Ï úú
_ l_Ïú Ï úú l úú úú l wú ú l ÏÏ ÏÏ _
úú l úÏ _
Ï ú l_úú Ïú Ï l úw ú
_ l
l l l l l l l l l
l Ïú Ï l ú Ï l_
ÏÏ _ Ï _
Ï Ï Ï lw lÏ Ï Ï l úú l ú lw l
l ? bb 44 ú
ú lú Ï lú ú lw l Ï Ï Ïú l ú
Ï Ï l_
ú l l
l l l l l l lÏ _ _
Ï ú l__
w l
Function Chorales... by © Stephen Melillo 1980... Page 17
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
#6 "b7 Makes I a V7" by Stephen Melillo
RHYTHM h h h h h h w
, h h h h h h w
2 # 2
1(8) 1 1 1
S 5
6
b
7
6
b
7 b
7
6
b
7
b b
7 7 b
7
6 6 6
A 3
4
5 5 5 5
4 4
h q q
4 4 4
T 1 1
2 #
1
2
3
1
2
3
2
3 3
b
7 b
7 1
6 6 6
B 4
5 5
4
5
4
1 1
Chords in Bb Bb Eb Fm G7 Fm Bb7 Eb Ab Gm Fm G Ab Bb7(4-3) Eb
Analysis I IV v (phr) VI7 v (phr)
V7/IV IV IV/IV iii/IV ii/IV III/IV IV/IV V7/IV IV
bb 44 úú w ú úú ú n úú ú úú w
l& úú úú l b úú úú l b úú l w l ú l bú l bú l w l
l l l l l l l l l
l ú ú l _ ú nú l _ ú ú
_ l w l _ú ú
_ l _ú ú
_ l _ú
_ _
Ï
_ Ï
_ l _
w
_ l
l ? bb 44 ú l l ú l l bú l l bú ú l l
ú ú ú
l _
ú l ú l ú l _
w l l ú l l _
w l
Function Chorales... by © Stephen Melillo 1980... Page 18
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
#7 "b3 & b6" by Stephen Melillo
RHYTHM h q q h h h q q h h q q q q q q q q w w
4 4
3 3 3 3
S 2
1
2 2 2
1
2 2
1
2
1
7
1 1
b
6
A 3
4
3
4 4
2 2
3
4 4
5 5
h q q
6 b
6 6
T 5 5 5
2
b
3 3
h h
B 1 1 1 1 1
2
5
b
6
1
Chords in Bb Bb Eb Bb Ebm Bb Cm F7 GbM7 Bb
Analysis I IV I iv I ii V7 b
VIM7 I
bb 4
4 ú Ï Ï ú ú ú Ï Ï ú ú Ï Ï Ï Ï Ï Ï Ï Ï w w
l& w lw lw l ú Ï _
Ï l_Ï ú. lú ú l ú bú l wl
l l l l l l l l l
l l l l l l l l l
l ? bb 4 w
4 _ lw lw l bw lw lú Ï Ï l bbw
w l wl
l _ l__ l__ l __ l__ l__
ú ú l l _
_
w w w w w wl
Function Chorales... by © Stephen Melillo 1980... Page 19
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
#8 "Expressive Tension" by Stephen Melillo
RHYTHM h q h q h q q q q
, h q h q h q h. h.
2 2
S 7
1(8)
7
1(8)
7
1(8) 1(8)
7 7
1(8)
7
1(8) 1(8) 1(8) 1(8)
BCD h .
RHYTHM ATB h. h. h. h. h. h. h. h.
4
A 6
m3 1
6
P5
3
6
1
6
m2
3
b
5 6 m2 5
4
T 1
M3 3
1
P5
1
3
1
B 4
m3 6
4
P5
4
6
5
b
2 m2 1
Chords in Bb Eb Gm9 Eb Bb Eb Gm9 F9 CbM7 Bb
Analysis IV vi9 IV I IV vi9 V9 b
iiM7 I
bb 3 ú
4 _ Ï ú Ï ú Ï Ï Ï Ï ú Ï ú Ï ú Ï ú. ú.
l& _ l_ú. l__ l ú. l__ l_ú. l__ l ú. l ú. l
l ú. l l ú. l l ú. l l ú. l l l
l l l l l l l l l l
l ? bb 3 . lú . l ú. lú . l ú. lú . l ú. l bú. l .
ú l
4 _
ú ú. ú. ú.
l ú. l l_ú. l l_ú. l l ú. l b_
ú.
_ l _
_
ú. l
Function Chorales... by © Stephen Melillo 1980... Page 20
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
#9 "ii Becomes I" by Stephen Melillo
RHYTHM w h h h h h h
, q q q q h h h h w
h q q
4
S 3
2
3
2 1
7 7
1
3
2 2 1 1
6 5 3 5
h. q
#
5 5 5 5 5 5
A 4 4
3 3
4
3
1
7
4
b
3 3 3
T 6
7
1 1 1 1
h h
6 5 5
b
6
B 2
3
4
1 1
Chords in Bb Cm D D7 Gm BbM7 Eb Bb F7 Gb Bb
Analysis ii III V7/vi vi IM7 IV I V7 b
VI I
bb 4 ú Ï Ï ú ú ú úú ÏÏ ú ú ú ú w
l& 4 w l #ú . Ï l ú l úú úú l Ï ÏÏ ÏÏ l__
w l _w l w l
l l l l l l l l l
l l w l ú ú l w l ú ú
_ l__
w l b_
w l 4_
w l
l ? bb 44 w l l ú l l l l bw l l
l _
_
w l _w l ú l_w l__ l w l l __ l
w w
Function Chorales... by © Stephen Melillo 1980... Page 21
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
# 10 "Gm" by Stephen Melillo
RHYTHM h h h h h h h h
, h h h h h q q h. q w
3 3
S 6
1
7
1
7
6 #
5 6
1
6 6 6 #5 6 6 6
h h q q q q
#
5 5
A 3 3
2
au
g4
3 3 b
3 2
3 3 b
3 3
2
4
3 b3 b3 3
2
T 1 1
7
1 1
7 7
1 1
6 6
1
7
1
7
1
6 6 6 6 6
B 5 #
5
3
5
4
3
5
4 4
3
4 4
Chords in Bb Gm Bb6/4 D D7 Gm BbM7 Eb7(b5) D7 Gm Bb6/4 Eb Eb7 Gm D7 Eb Eb7(b5) Gm
6/4 6/5 6/4 b +6 7 6/4 +6 4-3 +6
Analysis in Gm i III V V7 i III ii /V V i III VI VI i V VI VI i
bb 4 ú ú ú ú ú ú ú
l& 4 úú ú l _ú #ú lú ú l b úú #_
úú l úú ú l ú b úú l n úú Ï #Ï
_
ú l úÏ . Ï b Ï ÏÏ l n w
w l
l l l l l l l l l l
l ú ú l ú _ ú lú ú l ú ú lú ú l l ú ú l ú. Ï l w l
l ? bb 44 ú l lú l lú lú ú l ú l l w l
l ú l #ú _ú l ú l _ ú _ ú l ú l_ú _ ú l _
ú l_ ú. _Ï l l
Function Chorales... by © Stephen Melillo 1980... Page 22
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
# 11 "Modal Variants" by Stephen Melillo
RHYTHM h h h. q h h w
, h h h. q h h w
2 2
1
S
b b
7 7 b
6
5 5 4 4 4
b
3 3
1
b b
5 5 5
A b
3 b
3 b
3
m
6
2 2
7 1 b
7 b
7 1
6
b b b b
7 7 6 7 b
7
5 4 4 4 6
T 3 b
2 b
2
1
4 4
3 b
3 b
3 P5
1
B b
7 b
7 b
7
b
5 b
5
b
6 b
6
b
7
Chords in Bb Bb Dm Db Eb Ab Ab Fb (E) Gb Ab
b b b b b b
Analysis I iii III IV VII VII V VI VII
bb 4 ú w ú
l& 4 ú_
ú úú
_
_ l b úú .. ÏÏ l úú
_ _
_ l _
b_
w l b_
_ ú
úú
_ l b b úú .. ÏÏ l b b úú b_
úú l _ w
w l
l l l ú l l l l l l
l l bú. Ï l l l bú l l l bw l
l ? bb 44 ú ú ú bú
ú l l l bw
w l b úú ú l bú. Ï l b úú ú l b w l
l _
_
ú _
ú l b_ ú. _
Ï l _
ú _
ú l l l b ú. Ï l l l
Function Chorales... by © Stephen Melillo 1980... Page 23
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
# 20
12 "Inside Suspense" by Stephen Melillo
RHYTHM h h h. q w w
, h h w w h h w
3
2 2
S 1(8) 1 1 1
7 7
1
7 7 7
RHYTHM w w q h. h h h q q w w h h w
A 5 5 5
4 4
3 3 3 #
2
5 5 5 #
4
5
RHYTHM h h q q h h q q w h h h h w h q q w
4 4
T 3 3 1 1 1 7
5
6 #
4 #
4
3 3 3 3 #2 3
RHYTHM h q q h h h h h. q h h h. q h h h h w
1 1 1 1
B 7
6 b
6 5
7 6 7
3 2 2
1 7 7
3
Chords in Bb Bb F7 Bb Gm7 Co F7 Bb Gm A Dm Bb Dm A Dm
Analysis I V7 I vi7 iib5 V7 I vi V/iii iii I iii6/4 V/iii iii
bb 4 ú ú ú. Ï w w ú w
l& 4 w lw l Ï ú. lú ú l ú. ú bÏ lww lw lwú nú lww l
l l l l l l l l l l
l ú _
_ ú
_ l__
Ï _Ï ú l ú. Ï lw l l l l l l
l ? bb 44 ú . ú ú
Ï lú ú l bú ú
l ú. Ï l ú nú lú ú lw l ú. #Ï lw l
l l l l l l_ú. _
Ï l_
_ _
ú _
_
ú l_ú _
_
_ _
_
ú l_w l
Function Chorales... by © Stephen Melillo 1980... Page 24
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
# 13 "2 Cadences" by Stephen Melillo
,
RHYTHM h h h h q q q q h h w w w w
1(8) 1 1
7 7 7 ,
S 5
6 6
5
4
3
P8
2 1
h h w h h b
6
A 3 3 b
3 3 3
1 1 1 1
m6
5
7
1(8) 1
T 6
#
5
6
M3
4m
3 2
4 4 3
1
1(8) h h
m3
B 6
M3
4 3
6
4
2
5
4
5
1 1
Chords in Bb Bb Gm Eb7(b5) D Gm Eb Cm7 F7sus F7 Bb Ebm F11(b9) Bb
b
Analysis I vi ii+6/III V/vi vi IV ii7 V7sus V7 I iv V11(b9) I
bb 4 Ï w ww
l& 4 úú úú l b úú n úú l ú Ï
_Ïú Ï l _úw ú l _ú_w _
_ú l _w l b w l l
l l l l l l l l l
l ú ú l l l l l l l l
l ? bb 44 ú ú l ú #ú l úú ú l w l w l w l w l w l
l l _ú _ú l _ú l _
_w l w l _w l _ú
_ ú l _w l
_
Function Chorales... by © Stephen Melillo 1980... Page 25
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
# 14 "bVI" by Stephen Melillo
RHYTHM h h h h h h q q h h. q h. q h h w
b m3 b b
3 3 3 3
S 6 b
6
1 (8)
1
7
1 1 1 1
5 5 5
1 1 M3
A 3 4 3 b
3
P4
b
6
5 5 5
b
6
5 5
b
6
5
2
q q h b
3 3 3 3 b
2 2 2
T 1 1 1 7 1 1 1
b
6 b
6
1
h q q q q h q q q q
1(8) 1b 1 b
B 4
5
7 b
6 5
4
5 5
7 b
6
5
b
6
5 b
6
4
1
Chords in Bb Bb Eb F7(4-3) Bb Bb7 Gb Ebm F7(4-3) Bb Bb7 Gb Bb Gb Bb Gb Ebm7 Bb
Analysis I IV V7(4-3) I I7 b
VI iv V7(4-3) I I7 b
VI I b
VI I b
VI iv7 I
bb 4 b úú Ï ú bú. ÏÏ b úú .. ÏÏ b úú
b úú w
l& 4 úú úú l _úú úú l b b úú l Ï ÏÏ ú l b ú. l l l w l
l l l l l l l l l
l ú ú lÏ Ï ú l ú b_ú l _Ï _Ï _ú l ú. l l b_ú l w l
l ? bb 44 ú l Ï bÏ l bÏ l Ï bÏ l bú. Ï l bb úú .. Ï l bb úú l l
l _ú lú l Ï _ú lÏ Ï l Ï l Ï l _ú _w l
l _
Function Chorales... by © Stephen Melillo 1980... Page 26
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
#15 "1/2 Step-Whole-Step in a Greek Mode" by Stephen Melillo
RHYTHM h h q q q q h h q q q q h h q q q q w w
b
5 6 5
S 5 5
4
b
2
5 5
4 b
3
b
2
1 1 1 b7 1 1 1 1
ATB h .
RHYTHM BCD q q h q h h q h q h. q h h h h w
A 3
b
2
3
b
2
3
b
2
3
b
2
3
T 5
4
5
4
5
4
5
4
5
B 1
b
7
1
b
7
1
b
7
1
b
7
1
Chords in Bb Bb Abm Bb Abm Bb Abm Bb Abm Bb
b b b b
Analysis I vii I vii I vii I vii I
bb 4 ú ú Ï Ï Ï bÏ ú ú Ï Ï bÏ bÏ
l & 4 ú. Ï l b_Ï
ú Ï b Ï Ï b Ï l úú . w w
_ú _Ï l ú ú l b_Ï _ú _Ï Ï l b_ú _ú l ú b_ú l w l
l l l l l l l l l
l l l l l l l l l
l ? bb 44 úú .. ÏÏ l Ï
bÏ úú ÏÏ l úú úú l b ÏÏ úú ÏÏ l úú .. ÏÏ l ú
bú úú l úú b úú l ww l
l l l l l l l l l
Function Chorales... by © Stephen Melillo 1980... Page 27
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
#16 "The Neapolitan Deception" by Stephen Melillo
RHYTHM w h h q q q q h q q w h q q h h w
b dim b
2 3
2
1 1 1 1 1 1 1 1 1
S 7
5
7
6
7
3
h h
b b b
6 6 6 6 6 6
A 5
4
5
3
5 5
4
5 5
4 4 4 4 4 4
3 3 3 3 3 3
T 2
5
1 1
2
h q q h h h h
1
6
B 2
3
4
5 5
3 4
5 5
4 4 3
2
4
1 1 1
Chords in Bb Bb Cb F7 Bb Cb F7(4-3) Gm Eb Dm7 Cm7 Cb7 Bb
Analysis I N6 V7 I N6 V7(4-3) vi IV iii7 ii7 N6 plagal I
bb 4 w b úú úú Ï Ï bú Ïú w Ï ú ú ú
ÏÏ w
l& 4 w lb lÏ _ÏÏ ÏÏ Ï l b ú lw lú ÏÏ l ú bú l w l
l l l l l l l l l
l w
_ l _
ú
_ _
ú l_Ï Ï Ï l _
_ ú
_ Ï _
_ Ï l_
_ w l_ú
_ Ï l_
Ï _ ú _
_ ú
_ l w l
_
l ? bb 44 l lÏ Ï l lú l l l l
l _
_ Ï _
_
_ Ï l _
ú ú l Ï _Ï _
Ï l _
_ ú ú l ú l_ú Ï _
_ Ï l__
ú _ú l _
_
ú w l
Function Chorales... by © Stephen Melillo 1980... Page 28
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
# 17 "Gm to Bb" by Stephen Melillo
RHYTHM h h h h w
, h h h h h. q h h w
1 h q q h q q
7
S 6 6 #
5
6 6 6 #
5
6 6 6 6
5 5 5
q q h h q q
5 5
A 3 3
4 4
3 3 3
4
3
4 4 4 4
3
3
T 2
1
7
1
7 7
1 1 1 1 1
7
1
q q q q q q q q h q q
6 5
B 1
2
3 3 4 3
2
1
3
4
3
2
3 4
5 5
1
7
Chords in Bb Bb F Gm D7(4-3) Eb A7 (b5) D Dm Cm7 F7sus F7 Bb
Analysis in Gm to Bb III VII i V7(4-3) VI V7(b5)/V V vi in Bb IIm7 V7sus V7 I
French + 6th
bb 4 ú úú
l& 4 ú l úú Ïú # Ï lww l úÏ Ï Ïú # Ï l úú úÏl úú ..Ï ÏÏl úú úú l w
w l
l l l l l l l l l
l ú
_ _
ú lú ú lw lú ú lú ú l ú. Ï lú ú l w l
l ? bb 44 l l l lÏ l l l l
l _
_ _
_
ú l_ ú _
ú l _
Ï _
Ï _
_ _
Ï _ _
_ _ú Ï _ Ï l_
Ï _ _ú _ Ï lú ú
Ï _ _
_
ú Ï l_ ú l l w l
Function Chorales... by © Stephen Melillo 1980... Page 29
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
# 18 "Colouring the Seventh" by Stephen Melillo
RHYTHM h h h h h h w
, h h q q q q h h h h w
5 5 5 b
5
S 4 4 4 4
3
4
3
2 2 2
3 3 3
1
h q q q q q q
3 3 b
3 b
3 b
3 b
3 3
A 2 2 2
1
2 2
1 1
7 6 7
1 b
7
1
h q q
1
T 7 b
7 b
7 b
7 b
7
6
b
7
6
b
7
5
6
5 5
6
4 4
h. q
1 1 1 1 1 1 b
7
B 6
5
6
2
5 5 4
1 1
Chords in Bb BbM7 Bb7 Bbm7 Bbm7(b5) Eb7sus Eb7 Ab Fm7 G7 Cm F7 Bb Bb7 EbM7
Analysis IM7 I7 i7 iØ7 IV7sus IV b
VII v7 V7/ii ii V7 I I7 IVM7
bb 4
l& 4 úú úú l b úú b úú l b úú úú l _w
w l _úú . ú_Ï l_ÏÏ Ï _ Ï l_
Ï _ Ï_ Ï _
ú _
_ Ï l_
úÏ _
_ _ úú b_
úú
_ l w l
w
_
l l l l l l l l l l
l ú bú l bú ú l bú l ú bÏ l l l l l l
l ? bb 44 l ú l ú úú l bú . Ï l bú ú l w l ú ú lú ú l w l
ú ú ú Ï ú
l l l l l ú l__
w lú ú l__ú __ú l _
w l
Function Chorales... by © Stephen Melillo 1980... Page 30
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
# 19 "Tension-Resolution to I" by Stephen Melillo
RHYTHM h h h h h h h
, h h h h h h h w
1(8) 1 1 1 1 1(8) 1 1
S 7 7 7 7
6 #
5
6
6 6
A 5 #
4
5 5 5 5
3
2
4
5
1 1 1
1(8)
7
T 6
3 3 #
2
3
2
3
2 2 1
4
3
7
1(8) q q h
7
6 6
B 5 #
4
5
4
3 2 3 3
4
3 2 1
Chords in Bb NC NC NC Bb E7(b5) A7 Dm F7 Bb F D7sus4 D7 Eb Cm7 Bb
Analysis I pass IV I #ivØ7 V4/2/iii iii V4/2 I6 V6/4 III7sus III7 IV iim7 I
bb 4 ú ú ú úú ú ú úú w
l& 4 _
ú _
ú l _ú l ú n úú l úú úú l ú úú l úú #_
úú l úú l w l
l l l l l l l l l
l ú ú l l l l l l l l
l ? bb 44 ú ú l úú ú l ú # úú l ú ú l ú ú l ú ú l ú ú l w l
l l ú l n_
ú l ú _
ú l _
ú _
_
ú l _
ú _
ú l _Ï _
Ï _
_
ú l _
_
w l
Function Chorales... by © Stephen Melillo 1980... Page 31
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
#20 "Quartal Harmonies to IV" by Stephen Melillo
RHYTHM Î q q q h h Î q q q w q q q q h. q w w w
4
3
S Î 2 (9)
1
5
6 5
Î 2
1
5
6 6
2 2 2
1 1 1
1(8)b 1b q q q q 2(9)
Î Î b b b b
7 7 7 7 7 7
A 4 4 4 4 4
6 6 6
3 3 3
5 5 h q q h q q
Î 4 Î 4 4
T 1 b
7
1 1 1
4
6 6 5
4 4 4 4
3 3
h q q h q q h h
4 4 4 4 4
B 1 1
3 2 b
2
1 b
7 b
7
1
5
Chords in Bb Bb Pedal Bb13 Bb7 Eb Pedal Eb Cm7 Eb+7 Cm7 Ab Bb7sus Eb7sus Eb
Analysis I I13 I7 IV IV ii7 IV+7 ii7 b
VII I7sus IVsus IV
bb 4 Î Ï Ï b Ï Ï Ï Ï Î Ï Ï bÏ Ï Ï Ï Ï Ï ÏÏ ú. ÏÏ b w w w w
l& 4 l úw ú l lwÏ Ï Ï Ï l ÏÏ Ï Ï l bú . l l bw l w l
7l Ï _
l l
Ï _
l l l l l l l
l _
_ _Ï Ï l bw l _ _ _Ï Ï lw lÏ _ _
Ï l l l l l
l ? bb 44 Î l lÎ l l Ï Ï l ú Ï Ï l ú Ï Ï l w l w l
_
_ l __ l_w l_ú _ Ï l_
Ï _ _ú Ï _
_
b_ _ _
l b_ _
_ _ _ l _ w l _
w
l w w Ï ú.
_ _Ï l _
ú ú
_
_
_ l
Function Chorales... by © Stephen Melillo 1980... Page 32
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
# 21 "Phrygian Colours" by Stephen Melillo
RHYTHM w w h h w
, w w w w
b
7
S 5
b
6
4
5
b
4 4
3 3
5
4
A b
3
1
2
1 1
b
2
1
b
3 h h
1 1
T b
6
7 b
6 b
6
5
b
7
5
h h h h h h h h
b
7
B b
3
5
2 2
5
4 b
3
2
4
5
1 1
Chords in Bb Db Bbm Cm7(b5) F F7 Gb Gb/C Ebm Fm7(b5) Bb
b
Analysis III i Phr V7/V V V4/2 b
VI iv 6/4
(phr) Phr V7 I
bb 4 bw
l& 4 w l bw
w l b úú úú
_ l w
_
w l b_
w
w l w
_
w l w
b_
w l w
_
w l
l l l l l l l l l
l b_
w l w l ú l w l l l bú l l
l ? bb 44 l l bú l l bw l bw l ú l w l
w ú bú ú
l b_
w l l _
_
ú _
_
ú l _
ú l b_
ú _
_
ú l _
_
ú _
ú l l _
_
w l
Function Chorales... by © Stephen Melillo 1980... Page 33
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
# 22 "The Phrygian V" by Stephen Melillo Intro to Melillo Music. Godspeed.
RHYTHM h. q h h h. q h h w w h h w
6 6 6
S 5 5 5 5 5
4
5
4
5 5
5 #
4
5
A
m
b
3 au 3 3
di
g4
b b
2 2 1
b b b b b
7 7 7 7 7
5 5 5 6
5 5
T
P4
b
4 4
3 b
3 3
2 2
1 P4
1 1
b
b
7 7
B 5 5 5 5
6
b
3
2
1
Chords in Bb Bb Fm Bb Fm Db Abm Db Abm Bb Gm Db Bbm CM
b b b b b
Analysis I v (phr) I v III v/ III III v/ III I vi III i II
bb 4
4 ú w l ú nw
l& ú .. Ï
_
b_
Ï lúú ú
_
b_
ú l ú.
_
ú.
b_ Ï
b_
Ï l ú
_
b_
ú ú
b_
ú l w l _
w b_ _
ú
ú
bú l w l
l l l l l l l l l
l l l l l l l l l
l ? bb 4 ú . lú l bú . Ï l bú ú l w w ú ú w l
4 ú. Ï
Ï ú ú
ú ú. bÏ ú bú w l w l b_ _
l
_
l l l l l l l ú _
ú l _
w l
Function Chorales... by © Stephen Melillo 1980... Page 34
This copy is licensed to Lower Dauphin HS, Hummelstown, PA. Any other reproduction of this Teaching Tool for any other organization is Not Legal.
FUNCTION CHORALE # ____ “ __________________________” by _____________________
RHYTHM
Piccolo (Fl. Double)
Eb Clarinet
Oboe
Flute 1
Clarinet 1
Trumpet 1
Horn 1
Vibraphone (Soft)
Flute 2
Clarinet 2
Alto Sax 1
Trumpet 2
Horn 2
Trombone 1
Tenor Sax 1
Clarinet 3
Alto Clarinet
Alto Sax 2
Tenor Sax 2
Trumpet 3
Trombone 2 - 3
Horn 3 - 4
Marimba (Soft )
Bass Clarinet
Bassoon
Bari Sax
Contra Clarinet
Baritone
Euphonium
Tuba
Bass
Timpani (optional)
Chords in Bb
Analysis
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