CMP Teaching Plan

NAME
Jayden Gustafson
The Headless Horseman
By Timothy Broege
Manhattan Beach Music – Grade 2

Broad Description
 Based on the story of the Headless Horseman from Washington Irving’s “The Legend of Sleepy Hollow.”
 Features chromaticism in the winds to implement a dark and eerie sound.
 First performed in July 1973 by the Manasquan (New Jersey) Summer School Concert Band

Composer Biography
Born November 6, 1947 and raised in Belmar, New Jersey, the composer Timothy Broege
studied piano and theory with Helen Antonides during his childhood years. At
Northwestern University he studied composition with M. William Karlins, Alan Stout, and
Anthony Donato, piano with Frances Larimer, and harpsichord with Dorothy Lane, receiving
the degree Bachelor of Music with Highest Honors in 1969. He currently holds the positions of
Organist and Director of Music at First Presbyterian Church in Belmar, a position he has held
since 1972, and Organist and Director of Music at the historic Elberon Memorial Church in
Elberon, New Jersey.  

 The music of Timothy Broege has been performed throughout the world by, among others, the Monmouth Symphony
Orchestra, the Garden State Philharmonic Orchestra, the Meadows Wind Ensemble, the U.S. Military Academy Band, the New
Jersey Chamber Singers, the Atlantic String Quartet, the Cygnus Ensemble, pianist Robert Pollock, guitarist Francis Perry, and
recorder virtuoso Jody Miller. He has received numerous grants and commissions from schools, universities, professional
performers and Meet the Composer.

His music has been featured at the Boston Early Music Festival, the Mid-West Band & Orchestra Clinic, and the College Band
Directors National Association. He has appeared frequently as a guest composer/conductor and clinician and has received the
Edwin Franko Goldman Award from the American School Band Directors’ Association. To honor his career as a composer he
received the 2003 Award of Excellence from the New Jersey Education Association.
Background Information
The Headless Horseman was a piece composed for the Manasquan Summer School Concert Band, written in June 1973, and
performed in July 1973. Inspired by Washington Irving’s short story, Broege created a piece simple yet complex enough to tell
the frightening story of The Headless Horseman at a middle school level. The piece musically reflects different aspects of the
story within the piece. In the beginning nine measures, the percussion and trombone’s set the stage for the Headless
Horseman’s entrance. Measure ten represents the beginning of the frightening ride with the woodwinds playing their light
melody. In measures fourteen and fifteen, the low brass let out a warning of “beware!” with chromaticism amidst the major
key. As the piece progresses, the ride continues until the brass chorale from measures twenty-six to thirty-two where it
replicates a plea of desperation for salvation. The Horseman resumes his charge in bar thirty-three and begins gathering his
harvest of souls in bars thirty-six to thirty-eight which is played by the entire ensemble. The baritone solo in measure forty
abruptly introduces the chromatic motif one last time as a reminder of the lurking darkness. As the Headless Horseman rides
off into the night with his souls, the piece continuously decrescendos until the final accented note.
Additionally, this piece calls for a woodblock in the percussion for ultimate effect.

Elements of Music
Measur Meter and Form Melody Rhythm Harmony Timbre Texture Expressio
e Tempo n

1-9 Adagio Sets the Percussion is Percussion Harmony is Quiet to begin Texture is very The bass
Misterioso, stage for layering has established with until the thin with it drum begins
suspended abruptly by the only having with
Quarter=60bp the suspension that trombones
whole chromatics and percussion and pianississimo
m Headless crescendos to entrance. while the
notes, and glissandos trombone in
(or slower if Horseman’ the next phrase. With the other
everyone introduced by the beginning.
possible) s entry Trombones the trombones.
chromaticism percussion
have a else has and gradual As the phrase stagger in
either The percussion progresses, it
chromatic/trito crescendo, it after it,
whole or suspensions becomes
ne glissando. creates a gradually
and
half notes. denser with all increasing in
Alto’s, Clarinets crescendo’s sense of panic dynamics.
There are a of the
and trumpets along with the and fear. Very Trombone’s
few cases instruments
join to build the other harsh, noisy, are marked
where chromaticism playing their
tension with quarter dark, eerie, chromatic at mezzo
trombones with create a very and piano when
notes are eerie, contribution.
they first

2
 the help of tied to frightening and unsettling. enter. As
chromatics and whole scary opening. more
notes. instruments
increasing
join and the
dynamics. chromatics
get more
intense, the
dynamics
build to a
fortissimo.
Snare drum Great Key of Bb The snare line Texture is still Dynamic
simulates the rhythm major is and melody somewhat thin markings go
horse’s variety. established provide a sense with no brass back down
galloping while Half, through the of excitement playing at the to piano
with the key beginning of the and the
flute, oboe and quarter, clarinets and
being stable phrase. tempo
bells have the and eight altos eighth and Woodwinds
melody. notes are note lines in dramaticall
established, and percussion y increases.
Clarinets and represente m.10 unlike the drop out as Articulation
Altos keep the d. Snare outlining a Bb opening. The soon as brass
is in the
tempo on track has eighth- major chord. snare play their
clarinet and
with staccato two Very light and resembles a contrasting
The alto lines
eighth notes. sixteenth bouncy. M.14 horse galloping part, and then
Allegro, and are
frightenin Brass comes in note adds a lick of and the low come back in
10-16 Quarter=132 brass when the brass staccatos.
g ride at m.14 with rhythms chromaticism All other
bpm chromatic lick is done.
begins chromatics to for horse in the low instruments
reminds you of Simulates a
represent gallop. brass to the uncertainty conversation play
“beware!” remind the within the between the normally.
listeners of piece. ensemble. M.14, low
the Headless brass comes
Horseman. in at ff for
their unison
chromatic
feature,
returning to
piano once
finished.
17-19 Quarter=132 The ride Melody returns This Harmony is re- The melody The texture at Articulation

3
 to the upper phrase has established as well as the the end of this in alto,
woodwinds and dotted half, through the last line of the phrase is rich trumpet,
bells (clarinet half, alto, trumpet phrase with and full as the and horn
as well) while quarter and horn lines the ensemble entire figures is
the snare and eight outlining a Bb tutti is bright, ensemble plays staccato. At
continues the notes. major chord. creating an the same m.19,
horse galloping Snare still Melody also exciting rhythm, everyone in
rhythm. Altos, has eighth- helps feeling with reaching a the
bpm continues Trumpets and two establishes the
nothing to climax to the ensemble
key as well. introduction of plays in
Horns have sixteenth fear.
a new melody. unison at a
staccato eighth note
forte with a
notes, keeping rhythms crescendo
tempo steady. for horse launching
gallop. the piece
into the
next phrase.
20-25 Quarter=132 The ride Flutes, Oboes, Rhythm is Melody and With the The texture in This phrase
underlying has two nicely
bpm continues Clarinets, Bells mostly a accompanime this phrase is
contrasting
and Trumpet 3 mix of half, nt reinforce accompanime very rich, articulations-
have the quarter the key in a nt, it creates warm, and legato lines in
melody while and eight light and an full. With the the melody
everyone else notes. happy way. adventurous entire and some
feeling, staccatos and
has contrasting Some eight Thirds, fifths ensemble accents in the
syncopated notes tied and triads are keeping the playing, and rhythmic
horse ride
accompaniment to half seen quite the rhythms lines.
going but in a Dynamics
. Snare notes. often in this varying, it
non- range from f-
continues phrase. This creates a
threatening ff-fff
galloping technique way. The beautiful throughout
rhythm. creates a false melody adds texture that the phrase.
sense of another layer shapes the The fff
happiness and story of the represents
of adventure the horseman
security. over the top as piece. taking
well, making another
sure that should,
everything is making it
alarming and

4
 flowing and using the
bright. dynamic
appropriately.
Melody is in the Whole Harmony With the key The texture Brass is
form of a brass notes and changes from changing to thins out to a marked mp,
chorale with the half notes Bb major to its its relative brass chorale. and later
trumpets, with the relative minor, minor, the With it crescendos
g minor. You into mf. At
horns, eighth-two timbre transitioning
can tell by the the end of
trombones and sixteenth immediately into g minor, the phrase,
baritone. Snare note leading tones strains and the texture
as well as the everyone
starts the rhythms in darkens. The becomes full playing the
block chords
People galloping snare part brass chorale and tense. The block chord
being used in
plead for rhythm again. for horse builds tension chords being chords
this brass
Quarter=132 salvation, In m.28, gallop. through built are more crescendo
chorale. Lots
26-32 everyone comes layers, and more into the next
bpm but there of extra phrase with
in again for chromaticism becoming polyphonic as
is no chords signaling harsher and the phrase the oboe and
hope in this phrase flute having
another as well. Minor harsher until progresses.
accented
“beware” seconds create the sudden notes. The
message. tension that introduction accents
unsettling. back to Bb recreate the
major in alarming
m.33. feeling
found in the
previous
phrase.
33-38 Quarter=132 Horsema Flutes, Oboes, Rhythm is Melody and The return The texture in This phrase
bpm n Clarinets, Bells mostly a accompanime back to major this phrase was two
and Trumpet 3 mix of half, nt reinforce is a relief. returns to its nicely
resumes have the melody contrasting
quarter and the key in a Woodwind very rich,
charge while everyone eight notes. articulations
light and instruments warm, and full
and else has Some eight - legato line
contrasting
happy way. immediately texture. With in the
gathers notes tied
syncopated Thirds, fifths brighten the the entire melody
his to half and triads are mood and ensemble
accompaniment. notes. lines, and
harvest of Snare continues seen quite create a safe playing, and some
souls Snare has
galloping rhythm. often in this environment the rhythms staccatos
the eighth-

5
 M.36 has a call two phrase. This once more. varying, it and accents
and response for sixteenth technique The layering creates a in the
different note creates a false of varying beautiful rhythmic
instruments rhythms for sense of rhythms texture that lines.
leading to M.37 horse Dynamics
happiness and creates that shapes the
where all of the gallop. are marked
ensemble joins in,
safety from exciting horse story of the ff. M.36 has
Percussion the Headless ride once piece.
percussion is has accents on
suspending, and Horseman. again, calling the call and
suspended
all have for response
whole
crescendos for adventure. notes that
notes in
optimum effect. the
m.36-37 for
ensemble
suspension plays
together
emphasizing
the message
being
portrayed.
39-45 Quarter=132 The Snare galloping Main The baritone The baritone The baritone This final
bpm Horsema rhythm rhythms solo solo creates solo adds phrase is
continues. are quarter introduces a that last chromatic marked at p.
n rides The baritone
off into Baritone has a and eighth final moment of texture to the
solo at mf,
chromatic solo notes. The chromatic tension piece as it
the night flute and
in m.40-41 eighth-two warning before the begins to end. oboe solo at
decreasing in sixteenth amidst the Bb Headless Additionally, mf, and
volume. Flute note major key in Horseman the muted muted
and oboe have rhythms in m.40. The disappears trumpet solo trumpet solo
solos in m. 42- the snare flute and oboe into the adds a nice at mp. The
45. Trumpet 1 part are introduce the sunset. The flair to the rest of the
has a muted for the melody one muted texture as the ensemble
solo in m.43-45. horse last time in trumpet solo piece diminuendo
Meanwhile the gallop. their solo. adds a concludes s until the
end where it
percussion and Trumpet 1 And the different with its new
concludes at
accompanying solo has trumpets brassy color tone that the a pp
parts are fading triplets. muted solo to the piece piece hadn’t marking in
into nothing with the that experienced the winds,

6
 resembling the triplets represents before. As the and ppp in
horseman represent the the horseman piece the
riding away. It horseman riding into concludes, the percussion.
ends with getting away the sunset, texture begins It is a sort of
fade into
pianissimo triumphantly, getting away to fade in
nothing with
eight notes as ending the with his instrumentati an eighth
the horseman piece. crimes. It on which is note
vanishes. really stands fitting. staccato
out ending finale
the piece confirming
without the the pieces
desired end.
resolution.

Element Summaries:

Form
The form of this piece is very thematic as it tells Washington Irving’s short story, “The Headless Horseman”.
With this form, Broege divides the piece into five main sections; the Horseman’s arrival, the frightening ride
beginning, souls begging for salvation, the harvesting of souls, and the Headless Horseman’s escape into the
night. Each section portrays the haunting short story through its use of chromaticism, texture, timbre, and
harmonic complexity.

Rhythm
Although the rhythms are simple throughout most of the piece, Broege creates a level of complexity by the
context in which he uses them. The rhythms in the snare drum part represent the horse chase that is

7
happening throughout most of the piece and creates a quickly paced tempo for which the ensemble must
follow. The piece is in 4/4, and Broege adds a level of complexity with simple syncopation in the
accompanying parts. At the end, the rhythms are varying and the introduction of triplets from the trumpet
solo adds an unexpected twist, just like in the story when the Headless Horseman gets away.

Melody
The melody is constantly evolving as the piece progresses, moving from intense brass features to light and
bouncy woodwind features that correspond with the story. Chromaticism is added everywhere to keep the
dark mood alive and is the main focus of brass solos and features. This piece is highly polyphonic; however,
we do see divisions in instrumentation for different sections within the form, corresponding with the story.
The melody is packed with descending chromatic intervals, maintaining the uncomfortable and fearful
sound that Broege tried to create within the piece.

Harmony
The harmony of the piece creates its intense and frightening sound with chromaticism which is everywhere
in this piece. The frequent changes from Bb major to g minor transform the piece into completely opposite
moods addressing different parts of the story. When the ensemble is playing Bb major arpeggios simulating
safety, there always seems to be a solo or chromatic moment added to remind you that there is no safety yet,
and the Headless Horseman will find you.

Texture
It is clear to see that Broege thought a lot about orchestration when composing this piece, making it possible
for middle school students to play, but also difficult enough for them to be challenged. While the percussion
part consistently keeps the horse chase going with, the winds play melodies full of chromaticism and
intensity. Broege plays with an array of contrasting of colors throughout this two-minute piece and never

8
lets you get comfortable with one particular color before changing it again. The opening trombone glissando
and muted trumpet finale create an impactful timbre associated with beginning and end of the piece and
contributes to what makes this piece so great. He also utilizes many instances of call and response between
the winds, increasing in terror as the piece progresses.

Expression
The contrasting dynamics, articulations and tempos throughout the piece create an outline to tell the story
of The Headless Horseman. With the frequent use of crescendos and decrescendos, the emphasis of the story
is portrayed and made fully aware of. As the piece gets louder, the chromaticism gets greater. When the
piece is ending and the Headless Horseman is getting away, the dynamics get softer and softer until they
fade into nothingness symbolizing the end. The few articulations marked emphasize the point that Broege
was trying to make and stand out from everything else being played as per usual. This piece used expression
heavily and by doing so, created an impactful piece based on the classic short story by Washington Irving.

The Heart Statement

The heart of The Headless Horseman is the thematic journey expressed through chromaticism, melodies,
timbre, and texture creating contrasting feelings of unsettledness, fear, and excitement.

Music Selection

Introducing the Piece (strategies)

Affective Outcome:
 Students will relate their own experiences of fear, drama, and excitement to the piece.
 Students will experiment with a variety of ways to express fear and excitement through music.

9
Strategies
 Teacher will play a recording of the Headless Horseman and students will listen with these specific questions in mind:
o How does this piece make me feel?
o How does my personal experience of fear and excitement fit within this recording?
 Have students stand up and spread out across the room. The teacher will play a recording of the Headless Horseman and
students will act out the emotions being portrayed through the music.

Assessment
 Students will be assessed on the affective outcome through a journal assignment. This assessment is designed to have
students interpret, identify, and describe feelings/emotions found through the piece of music that they are studying.
Through this journal entry, the teacher will be able to evaluate individual students’ abilities to take moods portrayed
within the piece and defining them as a feeling and/or emotion. The piece will be played during class so that students
without internet access have the opportunity to complete this assessment as well.

Journal Entry on The Headless Horseman Name: ______________________________

Skill Outcome:
Listen to a recording of The Headless Horseman by Timothy Broege if you are able to. In this journal entry, please
write down some
 Students things that
will perform Theyou noticedHorseman
Headless and feelings you
with felt when
accurate listeningpitches,
chromatic to the piece. Did you
syncopated feel scared?
rhythms, Did you
and articulations.
feel excited? Explain.
 Students will recognize and perform the alternating time signatures, tempos, and moods used within this piece.

Strategies
 To create a sense of the driving eighth-two sixteenth note rhythm seen in the snare, have students clap the rhythm.
After students sense of rhythm improves, have the class split in half, one half clapping while the other half sings their
parts all the while maintaining tempo and rhythm.
 As students are perfecting their articulations, rhythms, and chromatic pitches, record them once during rehearsal. As an
ensemble, listen to the recordings and discuss. After the discussion, listen to a professional recording, comparing and
discussing what elements can be derived from the recording and used in the students playing.

Assessment

10
  Students will be assessed on the skill outcome through an individual performance test. This assessment is designed to
have students individually perform an excerpt from the piece, demonstrating correct articulations, rhythms, chromatic
pitches, flow between time signatures, consistent tempo, and expression of different moods. Teacher will be able to
assess learning because the only way to show understanding is through performing these elements.

Individual Excerpt Performance Name: _____________________________

Criteria: Excerpts: Measures 17-24, and 39-45

1. Effective use of articulations 1 2 3 4 5

2. Rhythms were consistently played correctly 1 2 3 4 5

3. Chromatic notes had good tone and were played in tune 1 2 3 4 5

4. Maintained a consistent tempo throughout the excerpts 1 2 3 4 5

5. Outcome:
Knowledge Flowed through changing time signatures with no problem 1 2 3 4 5
 Students will explore the story of The Headless Horseman through Washington Irving’s story and identify elements
6. Demonstrated contrasting moods through performance 1 2 3 4 5
within the piece that resemble the story.
 Students will analyze chromatic passages as an expressive compositional tool used to create tension, darkness, and
fear.

Strategies
 Teacher gives the students a page with the story of the Headless Horseman and asks them to mark parts in the story in
a box that they think is musically represented within the piece they are learning.
 Students will write out articulations that they think are appropriate when conveying the different themes throughout
the piece. Once students have completed this, teacher will compare their ideas of appropriate articulations to the ones
written in the score and discuss.

Assessment

11
  Students will be assessed on the knowledge outcome through a paper-and-pencil test. This assessment is designed to
have students analyze, identify, and describe elements from the Headless Horseman story that are found within the
piece. Teacher will be able to asses students learning through the connections made from the story to the piece which
requires the students to create a better understanding instead of just playing the music for fun.

Essay Question on The Headless Horseman Name: ____________________________________

Where do elements from the Headless Horseman story appear in this piece and in your part? Use specific examples from
your music and include measure numbers when referring to these examples.

Recommended Recordings
UWEC Symphony Band, Donald S. George - https://www.manhattanbeachmusic.com/audio/headless-horseman-ms.mp3.
The Headless Horseman by Timothy Broege - https://www.youtube.com/watch?v=wR_p0XuRT
References
 https://www.windrep.org/Headless_Horseman,_The
 http://www.timothybroege.com/Index.html

Works for Winds

 A Fable and a Folk Tale, Four Breton Dances, Dreams of the Blue River, The Tango Disappearing, Falling Water, Toccata
for Band, The River is Wide, Sinfonia IV “Suite for Winds and Percussion”, Southern Suite, Yuletide Dances, and so forth.

Sang through, studied, and marked parts (check off as completed)

Piccolo x Cornets/Trumpets 1st Violins

x Flutes x Horns 2nd Violins

12
x Oboes x Trombones Violas
English Horn x Euphoniums Celli
Bassoons x Tubas String Bass
Eb Clarinet Harp
x Clarinets Timpani
Alto Clarinets x Snare Drum Sopranos
Bass Clarinets x Mallet Percussion Altos
Contra Bass/Alto Clarinet x Remaining Percussion Tenors
x Saxophones Piano Basses

13