11/17/2020 Secondary Unit

J.S. Jig by Brant Karrick

MORGAN EGIDY
by Unknown Author is licensed under

Teachers Guide
J.S. Jig by Brant Karrick
Grade 3

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 Table of Contents

Introduction page Pg. 3

Glossary Pg.3
Score analysis Pg. 4
Warm-ups Pg. 8
Lessons/Assessments Pg. 10
Lesson One Pg.10
Assessment one Pg. 11
Lesson Two Pg. 12
Assessment two Pg. 13
Lesson Three Pg. 15
Assessment three Pg. 15
Lesson Four Pg.16
Assessment Four Pg. 18
Lesson Five Pg. 19
Assessment Five Pg. 21
Resources Pg. 22
Students guide Pg. 23

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 Introduction Page

Title: J. S. Jig
Composer: Brant Karrick
Publisher: Alfred Music Company
Grade Level: 4

Learning Goals: (as aligned with the 2014 NAfME Music Standards for Ensembles)
By the end of this unit, students will….
1. Perform J.S. Jig demonstrating mastery of cultural context and style through correct
application of technique and skills. Pr.3.p
2. Aurally and visually identify the form of J.S. Jig Pr.1.p
3. Perform J.S. Jig using techniques and skills grounded in their knowledge of the historical
context and practice of the composer.
4. Perform J.S. Jig expressively as defied by dynamics and smoothness. Pr.4.p
5. Perform J.S. Jig with both rhythmic and tonal accuracy. Pr.5.pa

Glossary of Terms

 Jig- a lively Irish dance in 6/8

 Ternary- musical form in which the original theme is repeated after a second theme is played. Also
known as A-B-A form.
 Form- The way a musical composition is constructed.
 Music Expression- the art of playing or singing with a personal response to the music.
 Chorale- a lyrical compositions consisting of or resembling a harmonized version of a simple hymn
tune.
 Reel- A lively Irish dance in 4/4
 Compound meter-that subdivide most of the beats into three equal parts
 Solo- performance by one person/instrument.
 Soli- multiple players/voices are featured.
 Grace note- 1. note is a note that you play just slightly before a real note. 2. a musical note added as
an ornament.
 Smear-loud slide away from a tone.

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 Unit Study

Unit 1: Composer
Brant Karrick is an American composer and music educator for Kentucky. In 1982 he completed
his Bachelor of Music Education from the University of Louisville. He went on to receive his
master’s in arts education from Western Kentucky University in 1984. In 1994, Dr. Karrick
received his Ph.D. from Louisiana State University.
Dr. Karrick served as a public school teacher for 7 years and 9 years at the University of Toledo
before taking a job as the Director of Bands at Northern Kentucky University in 2003. With his
position at Northern Kentucky University, Dr. Karrick is in charge of the Symphonic Winds,
Concert Band, and the Pep Band. He also teaches a number of music classes including
Conducting, marching band techniques, and music education. He also is an active guest
conductor, adjudicator, clinician, composer, and composer/arranger. His band compositions are
known all over the country as well as in Europe and Australia.

Unit 2: Composition
J. S. Jig is a piece that was dedicated to Joe Allen and the bands of Muhlenberg County in 2006.
These piece combines a theme from J. S. Bach and a chorale of Bach’s into one big Irish dance.
The main themes are exchanged frequently between different sections of instruments. The
piece becomes more dissonant as the main theme returns at the ed of the piece. The piece
resembles a sonata form but could also be considered A B A.

Unit 3: Historical Perspective

Bach had a liking for dances. His secular works have movements that have titles such as
passepied, Sarabande, courante, gigue, and more. J. S. Jig incorporates two of Johann Sebastian
Bach’s works into an Irish jig; Jesu Joy of Man’s Desiring, and Was Gott Tut Das Ist Wahlgetan.
The jig is a dance that has held a presence is Ireland since the seventeenth century. Important
things to note about an Irish jig is that it has a single line melody, very distinct instrumentation,
and its performance practices are Irish. The most defining characteristic of an Irish jig is that
regardless whether it is a solo performance or an ensemble, each instrument plays the melody.
There are four types of traditional Irish jigs, double jig, single jig, slip jig, and slide jig.
Jesu Joy of Man’s Desiring acts as a chorale that can be found in Bach’s cantata 147. The
original text of this chorale is based off of the biblical passage, Isaiah 11:1-5 and Luke 1:39-50.
There is not much known about the origin of the hymn Was Gott tut das ist Wohlgetan. There is
debate over whether this hymn was written by Samuel Rodrigast or by Severus Gastorius who
may have based the hymn off of a melody by Werner Fabridius or if was a mix of both theories.

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Regardless, this hymn has played a large role in works by numerous composers such as Bach,
Telemann, Handel, and Liszt. Bach specifically, used this hymn in multiple compositions
between 1724 and 1735.

Unit 4: Technical Considerations

This piece is written in a comfortable key for bands. The biggest challenge that bands may face
is the time signatures and meter changes throughout. 6/8 is the most prevalent time signature
in this piece. it changes between 6/8, 9/8, and 4/4. There are duple rhythms in 6/8 that may
challenge students. The timbre is constantly changing and requires the students to really listen
and be following the melodic line throughout the piece. There is an instance where students
will be asked to play a duple rhythm in 6/8. This may prove challenging.

Unit 5: Stylistic Consideration

The A theme in 6/8 needs to be very light ad bouncy. Close attention needs to be had on the
slurs. Some note groups of 3 are all slurred and some are not and some only the first two eighth
notes are slurred and the third is articulated.
The B theme is a chorale section. I should be performed very legato and connected. I should not
slow down. It is important that the melody is heard so the other parts will need to listen and
blend accordingly.

Unit 6: Musical Elements

Melody
Each section of instruments plays the melody at least once. The main theme is written in 6/8.
Towards the end of the piece a variation of the A theme can be heard and has many
accidentals. The A theme comes from Jesu Joy of mans desiring a J.S. Bach composition.

The B Theme comes from another J.S. Bach composition, Was Gott tut, Das ist Wohlgetan. It is a
very lyrical melody. This melody is primarily found in the brass section. A hemiola occurs in the
melody line.

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Harmony
In the percussion there are a few different ostinato patterns that can be heard throughout the
piece. the brass play long tones and sometimes hold a drone for the harmony. When the brass
takes over the melody, the woodwinds have a countermelody with the percussion 2 ostinato.

Rhythm
The piece is in 6/8 therefore if the ensemble is not comfortable with the concept of 6/8, the
rhythms in general may be difficult. There is syncopation found throughout that may be
challenging. There are also sections played by the brass that produce a hemiola effect. There
are many time changes throughout this piece which may add difficulty to rhythms and styles.
Grace notes can be found as well.
Timbre
There are many different colors that can be heard throughout the piece. The composer uses
unique percussion instruments that add a different color than what students might be used to.
Each section of instruments has the melody at least once which gives the ensemble an
opportunity to hear the melody in multiple timbres/colors. There are instrument specific
techniques such as, smears in the trombones, drastic dynamic changes in the clarinets, and
even a section for the students to whistle.

Unit 7: Form and Structure

Normally, Jigs follow an AABB form. The form of this piece follows an ABA form, but also is
consistent with Sonata form. It has an exposition, development, and a recapitulation.

Section Measure Scoring

Introduction/exposition 1-17 Percussion section
“ “ Melody is in the French horn
“ “ 17-21 Horn then plays the Was Gott
motif.
“ “ 26-37 Jig melody is passed
throughout the ensemble
Jig Phrase “A” 41-49 Solo clarinet
Jig phrase “B” 49-57 All 1st clarinets play melody
(Soli)

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Jig phase “A” 57-67 Flute ad Clarinet with the
melody
Development 67-75 Fanfare in the trumpet and
horn. Fanfare is answered by
the rest of the ensemble and
snare drum plays a segment of
the phrase.
“ “ 75-79 Theme A is resolved by clarinet
1. And Saxophone and Bells
“ “ 83-95 Was Gott tut theme in the
trombone
Fugue 95-103 Theme A enters again in the
clarinet
“ “ 103-111 Saxophones join the fugue with
the Clarinet
“ “ 111-119 Flutes join the Clarinet and
Saxophones
“ “ 119-127 Low reeds enter the Fugue
“ “ 127-135 Jig Theme B in the Trumpets
“ “ 135-143 Full Band plays theme B
Transition/Interlude 143-146 Mallets resolve Theme A
“ “ 146-175 Was Gott, tut Chorale in the
Trumpet and horn. Woodwinds
play Theme A under the Horn
and Trumpets
“ “ 165-175 Harmonies become more
dissonant. Meter changes to
4/4. Chorale Continues
“ “ 175-179 Saxophone plays part of theme
A as a quartet
Recapitulation 179-187 Entire theme A returns in the
woodwinds while the horns
continue with the chorale.
“ “ 187-203 Theme B
“ “ 203-211 Whistling part for the whole
band with one solo piccolo
(optional)
“ “ 211-213 Saxophone quartet plays
theme A
Coda 213-End Full Band

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 WARM-UPS

1. Bb Major Scale Warm up with articulations in 4/4

Students will begin by playing a Bb major scale. In quarter notes. Then they will play the scale in
eighth notes, slurring up and articulating coming down. Next I will write one measure of
rhythms on the board. The students will play one measure on the same note and then move up
the scale playing the one measure per each scale degree. Next I will add in specific articulations
that could include anything from slurs to staccatos, marcatos, legatos, etc. I will have the
students play the scale again adding the articulations. Next I will change the articulations up
and have the students play that measure on a concert Bb for 4 measure. I will change up the
articulations once more and have the students play 4 measures of that on a Bb. Then I will have
the students play the scale playing one measure per scale degree. They will play articulation
pattern 2 going up and articulation pattern 3 going down. This warmup will build articulation
skills and will address the 3 main articulation patterns found in the piece they are playing. This
warm not only address articulation patterns the students will encounter in the music, but the
rhythms are in 4/4 so it eliminates the difficulty of 6/8 so the students can focus primarily on
the articulations. It is starting at the simplest form of the concept, articulation, and will allow
for scaffolding to occur to work up to playing as written/ in context.

2. Chorale-Musical Phrasing
Students will already have in their folders, a Bach chorale book. They will need this for the
warmup. Students will sightread through one chorale. Students will participate in aural
listening. The students will be asked class discussion questions to help think deeper about how
to shape musical phrases, play at different dynamics, and identify who has what part of the
melody. I will give the students the opportunity to start and finish together without me so they
can learn to listen throughout the ensemble and keep time. The melody in J.S. Jig gets passed
around constantly. Students need to be able to listen through the ensemble to understand
where the melody is at all times. This warmup helps students develop this skill. The B theme is
to be played in a chorale style and very musically and with expression. This chorale focuses on
dynamics, blending, intonation, and musical expression. The things the students learn from this
warmup will transfer to the B theme in the piece. the students will use the skills regarding
music expression from the chorale to play with expression during the B theme.
3. Bb Major scale with rhythms being addressed in 6/8
In this warmup students will be adding two layers of difficulty on top of the first warm up. The
first layer is the rhythms. The students will play a Bb major scale to the main rhythmic figure:
quarter-eighth- three eight note idea. One measure per scale degree all the way up and back

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down. Then I will ad the second level of difficulty which is articulation. The first articulation
pattern will include a slur over the last two eighth notes in the group of three. The last note
they will slur up to the next scale degree. The second articulation pattern will be the articulation
found in the music. slur the first two eighth notes in the group of three. Again, students will slur
up to the next scale degree and re-articulate on the last eighth note. This scale is in the same
key as the piece. the exercise this scale is used for addresses the same time signature as the
piece. it uses a familiar rhythm from the piece that everyone plays at least once. It will help
clean up and solidify the motif. It also addresses articulations in 6/8 by using the same
articulation pattern found in the piece.
4. Tuning/blending
To start this warm up, the first thing we will do is tune. I will have a clarinet and a tuba give two
different starting pitches. Clarinet will play a concert F and A and the Tuba will play a concert
Bb. The band will tune as a large group/individuals. Then I will begin a tuning exercise to get the
students listening. I will go row by row and have each student come in one at a time starting
from the flutes. Once they enter they will sustain and hold their note. They will make
adjustments to their pitch ass needed. Next I will have the students repeat the process but this
time I will start from the last row and end in the front row. Next, I will do a similar exercise. I
will go row by row again starting with the flutes in the front row but this time I will have the
students hold their note for four counts. Then the next player will come in. once the next player
comes in the previous player will stop playing. I will have my class repeat the process starting
from the last row and ending in the front row. Finally, I will have the students end with a chord
building activity. They will all play a concert Bb. When I cue them, they will play one note in a
Bb major triad. This will get them listening to their intonation and provide an opportunity to
blend which will come in useful in the piece. The ensemble will have to blend throughout the
piece ad be Intune because there are multiple instances where instrumentation is thin, there is
a solo/soli, and where there is a change for a shrill and bright sound from the woodwinds. This
warmup will get the students ears listening for all of those things.

5. Technique builder
Students will have in their folders the Standard of excellence book three in their folders. They
will need it for the warmup. I will select one or two technical exercise from the book in 6/8.
Students will sight read the excerpt first as an ensemble. Next I will give them 1 minute to look
at it on their own. Then as an ensemble they will play through it again. Next I will break it down
with them and address the technical errors such as rhythms and articulation. The point of this
warmup is to build students skills and understanding of different technical aspects in 6/8. This
will transfer over to their piece that Is primarily in 6/8. They will be able to apply the new ideas
and new/deeper understanding of how things work in 6/8 to the piece to improve its technical
aspects.

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Lesson Plans and Assessments

Lesson Plan One

Objective
Students will Perform J.S. Jig demonstrating mastery of cultural context and style through
correct application of technique and skills.
Lesson Focus
Application of cultural context
Materials
Video over Ireland

Lesson Sequence

 Play an Irish jig as the students are walking into class.

 Teacher will have created an iMovie trailer to show to the class. it will include fun and
important facts about Ireland.
 Next the students will be handed a survey to fill out about the facts they just learned and
how they may impact the way the play J.S Jig
 There will be a brief in-class discussion over the survey. Students will have a chance to
share their thoughts.
 Next I will use a keynote presentation to teach what musical elements are specific and
related to the country of origin. Students will take notes on the back of their music or I their
band journals.
 Next, there will be a brief discussion in class about what the information tells us about the
music, and how applying what they’ve learned will affect the way they play the music.
 The students will be aske to write down what musical concepts/elements they notice
and/or hear in J.S. Jig that would help identify/classify this as Irish.
 Then the students will get a chance to apply everything they’ve learned and discussed. As
an ensemble they will rehearse 95-143.
 Start by having those who play the melody start at 95. Have the student drop out/come in
as they either start playing or stop playing the melody and stop this exercise at measure
143.
 Write the list of Irish elements on the board or have them pulled up on the keynote. Ask
the students what their heard/noticed and what could be connected to Irish style of music.

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 Then address the musical elements, rhythms, etc. and improve the section and apply the
Irish elements learned. To do this, break the big section into 2 smaller sections. Measures
95-127 and 127-143 will be the smaller sections
 Finally put the two sections together and play through the big section from 95-143.

Assessment
The students will be assessed by a journal entry over the writing prompts listed below. Along
with some possible/acceptable answers. Their journal entry should cover one or two of the
bullet points listed under the writing prompt.

1. What Irish characteristics can you find in J.S. Jig

 6/8
 Passing around of the melody
 Form

2. What did you change about the way you played this piece after learning about Ireland
and Jigs? How did it effect the style and how it sounded?
 Lighter/bouncy
 Attention to articulation
 Listening throughout the ensemble and backing off when not playing the
melody
 Energy/dance like

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 Lesson Plan Two

Objective:
Students will perform J.S. Jig using techniques and skills grounded in their knowledge of the
historical context and practice of the composer.
Lesson Focus
History
Materials
Listening examples
Computers
Presentation software
Projector
Videos over composer
Lesson Sequence
1. Play the first listening example as the students are walking in.
2. Ask the students what they noticed about the example. Play it again if needed.
3. Then the students will play the first theme at the beginning of the piece.
4. Next I will play the second listening example and ask them what they notice.
5. The students will play the second theme and be asked to share what they noticed
between the piece and the listening examples.
6. The students will notice that both melodies from the listening examples appear in our
piece.
7. Next I will tell them the inspiration for the song based on the program notes provided by
the composer.
8. We will then discuss the composer of the two different melodies the piece is based on:
J. s. Bach. A fun video will be made and presented to the class about the composer.
9. Next a power point will be presented that will teach about the baroque musical time
period, characteristics of baroque music, other baroque composers, etc.
10. Next the class will discuss what they can do, how they can play the song to match the
original instrumentation/style of the two baroque listening examples.
11. The class will implement these ideas to make the piece sound more connected and
musical.
12. The class will run the piece from 143-175
13. The focus will be on good connection between notes and intervals and playing lyrically.

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 14. The students will have learned about other composers and musical time periods
throughout this year. They will be assigned a group project. Students will divide into
groups of four and pick a musical time period for their group to research. Each student
will receive an assignment description page along with a sample rubric for how their
project will be graded. Students will receive time to work on their project in class and
the presentations will be presented within a couple weeks. The only part of this project
due at the conclusion of this lesson is the group members, and which time period they
chose. Each student will take notes during each presentation, for there will be a written
test over musical time periods at the conclusion of the presentations.

Assessment:
I will assess these students informally during this day. I will assess their projects using a
rubric. Following the presentation of the rubrics, I will formally assess the students through
a written test made up of questions from the students’ presentations over composers.

Project Rubric

Component Below Standards Meets Standards Exceeds Grade

0-4 5-7 Standards
8-10
Contribution Did not contribute to Put in minimal but not Put in equal to
the group. Uninvolved. equal efforts and great efforts
contributions to the and
group. contributions to
the group.
Content Had vague to no All/almost all of the Very
factual information required information informative and
presented. Little to was presented. factually
none of the required All/almost all of the correct. Had all
information. information presented of the required
was factual. Bare information and
minimum information. more.
Comprehensive
research was
completed very
well
Visually appearance/ Presentation lacked Attempts at Presentation
organization/Creativity creativity and organization were made was creative
organization. Was not but have room for and unique.

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 visually appealing. Did improvement. Creativity Very organized
not keep the was basic. Presentation and visually
audience’s attention was visually distracting appealing.
and struggled to keep Maintains
the listener’s interest. audience’s
attention and
interest.
Delivery Delivery lacked Delivery had minimal Delivery of the
fluency. Presenters errors with fluency. presentation
voices were unclear Presenters voices could was smooth,
and could not be be heard and and the
understood. Delivery understood sometimes. presenter’s
was not carried out by Delivery was unevenly voices were
each member. presented by the clear. Each
members member
delivered
equally and was
able to answer
class questions.
Was equal
between all
group members
In class questions Could not answer Members could answer Members
questions from the some of the classes and answered all
class or teacher about teachers’ questions questions about
their presentation about their their
presentation presentation.

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 Lesson Plan 3

Objective:
Students will aurally and visually identify the form of J.S. Jig Pr.1.p
Lesson Focus
Identifying/ understanding ABA form
Materials
Musical Road Map worksheet
Listening recording
Lesson Sequence

 Put Music road map on student’s music stands before class

 Play the listening example.
 Students will follow along in their music with the recording and will fill out the work sheet.
 The teacher will collect the road map worksheets
 Then the teacher will explain the form and how it applies to J.S. Jig.
 The students will be given another chance to identify the form through an in-class
discussion opportunity. They will write the form in their music.
 Next they ensemble will begin rehearsing the transitions between themes in the music to
clean up entrances and make transitions smooth and connected.
 Finally, the ensemble will put everything they’ve learned together and perform the piece
from beginning to end.
Assessment:
To assess the students, I will create a kahoot to play at the end of class. the kahoot will contain
questions over the form of J.S. Jig. It will also contain vocabulary words learned throughout the
unit. With Kahoot, I can see who answered and what answer they chose to evaluate how many
of the students understood the concept.

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 Lesson Plan Four

Objective:
Students will perform J.S. Jig expressively as defied by dynamics and smoothness. Pr.4.p
Lesson Focus
Musical Expression
Materials
Self-assessment worksheet
Recording device
Means to access a YouTube link
Lesson Sequence

 .The ensemble will identify clear distinctions between their dynamic levels. In other words,
they will identify what their specific dynamic levels are as an ensemble.
 The ensemble will be rehearsing the big chunk of measures 143 to 175.
 First the ensemble will play through the section once
 Students will be asked to identify what they did well and what they could do better.
 The sections with the melody will be asked to play Measures 157-165
 The class will be asked to share what they heard and their ideas on how to make it sound
better.
 Next the sections with the melody will be asked to change something about how they
performed the section. The teacher will start them, and they will play together as a small
group and end together.
 Peer-feedback will be given
 The teacher will model phrase shaping and have the students with the melody identify
what the teacher had done differently to shape the phrase and make the sections more
musical.
 The teacher will discuss with the class how to create their own dynamics to shape phrases
such as crescendos and decrescendos.
 Then the sections with the melody will play the section again applying these new ideas.
 Next the sections with the harmony will play. Measures 157-165.
 Their role in the section will be explained.
 They will receive feedback based on the elements discussed so far on how to shape the
phrase.

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 They will play the section again applying the feedback to play with more musical
expression.
 The counter melody will play from measure 149-165
 The teacher will discuss the role of the counter melody and have them write in special
dynamics in measure 149-157. Measure 149 will be MP with a crescendo to mf in measure
150.
 The countermelody will play that short segment applying these dynamics
 They will then play from measure 157-165 applying the ideas that have been discussed
regarding musical expression.
 Finally, the teacher will address how all these parts fit together and what the balance of the
band should be. The ensemble will then put the whole chorale like section together
applying all of the ideas around musical expression from measure 143-165
 At the end of class I will as the students to hold up a number between one and five on their
hand five being the best. I will ask them where they think they are at as an ensemble from
measures 143-165.
Assessment:
There will be a lot of informal assessment done in class through class discussion. The very end
of class I will take a visual survey by asking the students to provide a rating on their hands to
determine where they think the section is at on a scale from 1-5. Class will be recorded and a
link to the final run through will be sent to the students. They will also be asked to complete a
self-assessment questionnaire that will be turned in at the next class period to provide a form
of formal assessment as well.

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 Self-Assessment Questionnaire

Name:_________John Doe____________ Date:_________________

1. Name one element of musical expression you used when playing? Explain how.
Dynamics- I used dynamics by getting loud and soft at different times to sound
more musical.

2. What is something you did well? What is something the ensemble did well?
I played correct rhythms. The ensemble blended well.

3. What is something you plan to fix regarding musical expression in J.S. Jig and where at is
it in the piece? How do you plan on fixing it?
I plan to fix my articulations in measure 175 by not slurring all of the eighth
notes.

4. What is something the ensemble needs to work on to play with more musical
expression? Explain your answer.
The ensemble as a whole could do a better job of playing quietly and having a greater
dynamic contrast.
5. Rate your individual performance 1 2 3 4 5

6. Rate the ensembles performance 1 2 3 4 5

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 Lesson Plan Five

Objective:
Students will perform J.S. Jig with both rhythmic and tonal accuracy. Pr.5.pa
Lesson Focus
Rhythm
Materials
Rhythm quiz
pencil
Lesson sequence

 The ensemble will be rehearsing 187-end.

 Measures 187 and 189 will be isolated and the trombones will learn about smears. The
technique will be addressed and improved.
 The very last measure will be addressed and rehearsed to incorporate the grace notes.
 Then as a whole ensemble, the section from 203-211 will be addressed. It is the main
melodic theme throughout the piece and every instrument has this rhythmic idea at least
once.
 The ensemble will clap measure 203 and 204.
 Then the woodwinds only will clap the two measures.
 Next the brass and percussion only will clap the two measure.
 The rhythms will be counted on the board as a class. And the measures will be broken
down.
 Next the ensemble will clap the two measures again.
 Then the same process just utilized will be repeated to break down measures 209 and 210.
 The whole ensemble will clap their parts from measures 203-211 at a reduced tempo. The
percussion will play the macro beats and micro beats. They will do this before whistling the
melody as whistling adds a layer of difficulty.
 Once the ensemble can clap the melody, the teacher will play the melodic line on the piano
to get the tune and appropriate key in the ears of the ensemble.
 Then the students will hum the melody. Unpitched percussion will continue to keep the
macro beats and microbats while the pitched percussion plays the mallet part.
 Finally, the students will be asked to whistle the melody while the solo piccolo plays the
solo. And the tempo will gradually increase. The section from 203-211 is broken down like
this to correct rhythmic issues at the simplest form. The students started with just the

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 rhythms and clapping, then added the melodic aspect, finally the part as written. It also
helps to address tone in the whistling section by humming it first
 To conclude the lesson, the ensemble will put everything together and play from 187 to the
end.
Assessment:
To assess the student’s comprehension of rhythm, I will administer a written rhythm quiz. This
quiz will require students to explain concepts related to 6/8 and will have the students apply
their knowledge to count rhythms in 6/8.

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 Rhythm Quiz

Name:_________John Doe_________ Date:_______________

1. What does the 6 in 6/8 represent?

The 6 tells the musician how many beats are in the measure

2. What does the 8 in 6/8 represent?

The 8 tells the musician what note value is getting the beat

3. How many big beats are there in 6/8?

2

4. Explain what this symbol means.

The dotted quarter note is getting the beat.

5. Count the following rhythms

1 + 2 E+ 1 + 2 1 2 E +

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 Resources

Suggested listening
Cantata BWV 147: Herz und Mund Tat und Leben, J. S. Bach
Jesu Joy of Man’s Desiring arr. Alfred Reed
The Jig is up-Daiel Kallman
http://www.kallmancreates.com/jig_is_up,html
J.S. Jig-Brank Karrick

https://www.youtube.com/watch?v=DZZrBC7rGKk

Websites/Readings
https://www.irish-expressions.com/irish-jig.html

https://dance.lovetoknow.com/Irish_Jig

http://www.baroquemusic.org/biojsbach.html

http://www.johnmreese.net/bach_concepts.htm

22
by Unknown Author is licensed under

Student Guide
J.S. Jig by Brant Karrick
Grade 3
Created by Ms. Morgan Egidy

23
 Table of Contents

Introduction Pg. 3
Glossary Pg.3
Music Analysis Pg.4
Warm-Ups Pg. 8
Activities/Assignments Pg. 10
Resources Pg. 14

by Unknown Author is licensed under

24
 Introduction Page

Title: J. S. Jig
Composer: Brant Karrick
Publisher: Alfred Music Company
Grade Level: 4

Learning Goals: (as aligned with the 2014 NAfME Music Standards for Ensembles)
By the end of this unit, students will….
6. Perform J.S. Jig demonstrating mastery of cultural context and style through correct
application of technique and skills. Pr.3.p
7. Aurally and visually identify the form of J.S. Jig Pr.1.p
8. Perform J.S. Jig using techniques and skills grounded in their knowledge of the historical
context and practice of the composer.
9. Perform J.S. Jig expressively as defied by dynamics and smoothness. Pr.4.p
10. Perform J.S. Jig with both rhythmic and tonal accuracy. Pr.5.pa

Glossary of Terms

 Jig- a lively Irish dance in 6/8

 Ternary- musical form in which the original theme is repeated after a second theme is played. Also
known as A-B-A form.
 Form- The way a musical composition is constructed.
 Music Expression- the art of playing or singing with a personal response to the music.
 Chorale- a lyrical compositions consisting of or resembling a harmonized version of a simple hymn
tune.
 Reel- A lively Irish dance in 4/4
 Compound meter-that subdivide most of the beats into three equal parts
 Solo- performance by one person/instrument.
 Soli- multiple players/voices are featured.
 Grace note- 1. note is a note that you play just slightly before a real note. 2. a musical note added as
an ornament.
 Smear-loud slide away from a tone.

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 Unit Study

Unit 1: Composer
Brant Karrick is an American composer and music educator for Kentucky. In 1982 he completed
his Bachelor of Music Education from the University of Louisville. He went on to receive his
master’s in arts education from Western Kentucky University in 1984. In 1994, Dr. Karrick
received his Ph.D. from Louisiana State University.
Dr. Karrick served as a public school teacher for 7 years and 9 years at the University of Toledo
before taking a job as the Director of Bands at Northern Kentucky University in 2003. With his
position at Northern Kentucky University, Dr. Karrick is in charge of the Symphonic Winds,
Concert Band, and the Pep Band. He also teaches a number of music classes including
Conducting, marching band techniques, and music education. He also is an active guest
conductor, adjudicator, clinician, composer, and composer/arranger. His band compositions are
known all over the country as well as in Europe and Australia.

Unit 2: Composition
J. S. Jig is a piece that was dedicated to Joe Allen and the bands of Muhlenberg County in 2006.
These piece combines a theme from J. S. Bach and a chorale of Bach’s into one big Irish dance.
The main themes are exchanged frequently between different sections of instruments. The
piece becomes more dissonant as the main theme returns at the ed of the piece. The piece
resembles a sonata form but could also be considered A B A.

Unit 3: Historical Perspective

Bach had a liking for dances. His secular works have movements that have titles such as
passepied, Sarabande, courante, gigue, and more. J. S. Jig incorporates two of Johann Sebastian
Bach’s works into an Irish jig; Jesu Joy of Man’s Desiring, and Was Gott Tut Das Ist Wahlgetan.
The jig is a dance that has held a presence is Ireland since the seventeenth century. Important
things to note about an Irish jig is that it has a single line melody, very distinct instrumentation,
and its performance practices are Irish. The most defining characteristic of an Irish jig is that
regardless whether it is a solo performance or an ensemble, each instrument plays the melody.
There are four types of traditional Irish jigs, double jig, single jig, slip jig, and slide jig.
Jesu Joy of Man’s Desiring acts as a chorale that can be found in Bach’s cantata 147. The
original text of this chorale is based off of the biblical passage, Isaiah 11:1-5 and Luke 1:39-50.
There is not much known about the origin of the hymn Was Gott tut das ist Wohlgetan. There is
debate over whether this hymn was written by Samuel Rodrigast or by Severus Gastorius who
may have based the hymn off of a melody by Werner Fabridius or if was a mix of both theories.

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Regardless, this hymn has played a large role in works by numerous composers such as Bach,
Telemann, Handel, and Liszt. Bach specifically, used this hymn in multiple compositions
between 1724 and 1735.

Unit 4: Technical Considerations

This piece is written in a comfortable key for bands. The biggest challenge that bands may face
is the time signatures and meter changes throughout. 6/8 is the most prevalent time signature
in this piece. it changes between 6/8, 9/8, and 4/4. There are duple rhythms in 6/8 that may
challenge students. The timbre is constantly changing and requires the students to really listen
and be following the melodic line throughout the piece. There is an instance where students
will be asked to play a duple rhythm in 6/8. This may prove challenging.

Unit 5: Stylistic Consideration

The A theme in 6/8 needs to be very light ad bouncy. Close attention needs to be had on the
slurs. Some note groups of 3 are all slurred and some are not and some only the first two eighth
notes are slurred and the third is articulated.
The B theme is a chorale section. I should be performed very legato and connected. I should not
slow down. It is important that the melody is heard so the other parts will need to listen and
blend accordingly.

Unit 6: Musical Elements

Melody
Each section of instruments plays the melody at least once. The main theme is written in 6/8.
Towards the end of the piece a variation of the A theme can be heard and has many
accidentals. The A theme comes from Jesu Joy of man’s desiring a J.S. Bach composition.

The B Theme comes from another J.S. Bach composition, Was Gott tut, Das ist Wohlgetan. It is a
very lyrical melody. This melody is primarily found in the brass section. A hemiola occurs in the
melody line.

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Harmony
In the percussion there are a few different ostinato patterns that can be heard throughout the
piece. the brass play long tones and sometimes hold a drone for the harmony. When the brass
takes over the melody, the woodwinds have a countermelody with the percussion 2 ostinato.

Rhythm
The piece is in 6/8 therefore if the ensemble is not comfortable with the concept of 6/8, the
rhythms in general may be difficult. There is syncopation found throughout that may be
challenging. There are also sections played by the brass that produce a hemiola effect. There
are many time changes throughout this piece which may add difficulty to rhythms and styles.
Grace notes can be found as well.
Timbre
There are many different colors that can be heard throughout the piece. The composer uses
unique percussion instruments that add a different color than what students might be used to.
Each section of instruments has the melody at least once which gives the ensemble an
opportunity to hear the melody in multiple timbres/colors. There are instrument specific
techniques such as, smears in the trombones, drastic dynamic changes in the clarinets, and
even a section for the students to whistle.

Unit 7: Form and Structure

Normally, Jigs follow an AABB form. The form of this piece follows an ABA form, but also is
consistent with Sonata form. It has an exposition, development, and a recapitulation.

Section Measure Scoring

Introduction/exposition 1-17 Percussion section
“ “ Melody is in the French horn
“ “ 17-21 Horn then plays the Was Gott
motif.
“ “ 26-37 Jig melody is passed
throughout the ensemble
Jig Phrase “A” 41-49 Solo clarinet
Jig phrase “B” 49-57 All 1st clarinets play melody
(Soli)

28
Jig phase “A” 57-67 Flute ad Clarinet with the
melody
Development 67-75 Fanfare in the trumpet and
horn. Fanfare is answered by
the rest of the ensemble and
snare drum plays a segment of
the phrase.
“ “ 75-79 Theme A is resolved by clarinet
1. And Saxophone and Bells
“ “ 83-95 Was Gott tut theme in the
trombone
Fugue 95-103 Theme A enters again in the
clarinet
“ “ 103-111 Saxophones join the fugue with
the Clarinet
“ “ 111-119 Flutes join the Clarinet and
Saxophones
“ “ 119-127 Low reeds enter the Fugue
“ “ 127-135 Jig Theme B in the Trumpets
“ “ 135-143 Full Band plays theme B
Transition/Interlude 143-146 Mallets resolve Theme A
“ “ 146-175 Was Gott, tut Chorale in the
Trumpet and horn. Woodwinds
play Theme A under the Horn
and Trumpets
“ “ 165-175 Harmonies become more
dissonant. Meter changes to
4/4. Chorale Continues
“ “ 175-179 Saxophone plays part of theme
A as a quartet
Recapitulation 179-187 Entire theme A returns in the
woodwinds while the horns
continue with the chorale.
“ “ 187-203 Theme B
“ “ 203-211 Whistling part for the whole
band with one solo piccolo
(optional)
“ “ 211-213 Saxophone quartet plays
theme A
Coda 213-End Full Band

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 WARM-UPS

6. Bb Major Scale Warm up with articulations in 4/4

Students will begin by playing a Bb major scale. In quarter notes. Then they will play the scale in
eighth notes, slurring up and articulating coming down. Next I will write one measure of
rhythms on the board. The students will play one measure on the same note and then move up
the scale playing the one measure per each scale degree. Next I will add in specific articulations
that could include anything from slurs to staccatos, marcatos, legatos, etc. I will have the
students play the scale again adding the articulations. Next I will change the articulations up
and have the students play that measure on a concert Bb for 4 measure. I will change up the
articulations once more and have the students play 4 measures of that on a Bb. Then I will have
the students play the scale playing one measure per scale degree. They will play articulation
pattern 2 going up and articulation pattern 3 going down. This warmup will build articulation
skills and will address the 3 main articulation patterns found in the piece they are playing. This
warm not only address articulation patterns the students will encounter in the music, but the
rhythms are in 4/4 so it eliminates the difficulty of 6/8 so the students can focus primarily on
the articulations. It is starting at the simplest form of the concept, articulation, and will allow
for scaffolding to occur to work up to playing as written/ in context.

7. Chorale-Musical Phrasing
Students will already have in their folders, a Bach chorale book. They will need this for the
warmup. Students will sightread through one chorale. Students will participate in aural
listening. The students will be asked class discussion questions to help think deeper about how
to shape musical phrases, play at different dynamics, and identify who has what part of the
melody. I will give the students the opportunity to start and finish together without me so they
can learn to listen throughout the ensemble and keep time. The melody in J.S. Jig gets passed
around constantly. Students need to be able to listen through the ensemble to understand
where the melody is at all times. This warmup helps students develop this skill. The B theme is
to be played in a chorale style and very musically and with expression. This chorale focuses on
dynamics, blending, intonation, and musical expression. The things the students learn from this
warmup will transfer to the B theme in the piece. the students will use the skills regarding
music expression from the chorale to play with expression during the B theme.
8. Bb Major scale with rhythms being addressed in 6/8
In this warmup students will be adding two layers of difficulty on top of the first warm up. The
first layer is the rhythms. The students will play a Bb major scale to the main rhythmic figure:
quarter-eighth- three eight note idea. One measure per scale degree all the way up and back

30
down. Then I will add the second level of difficulty which is articulation. The first articulation
pattern will include a slur over the last two eighth notes in the group of three. The last note
they will slur up to the next scale degree. The second articulation pattern will be the articulation
found in the music. slur the first two eighth notes in the group of three. Again, students will slur
up to the next scale degree and re-articulate on the last eighth note. This scale is in the same
key as the piece. the exercise this scale is used for addresses the same time signature as the
piece. it uses a familiar rhythm from the piece that everyone plays at least once. It will help
clean up and solidify the motif. It also addresses articulations in 6/8 by using the same
articulation pattern found in the piece.
9. Tuning/blending
To start this warm up, the first thing we will do is tune. I will have a clarinet and a tuba give two
different starting pitches. Clarinet will play a concert F and A and the Tuba will play a concert
Bb. The band will tune as a large group/individuals. Then I will begin a tuning exercise to get the
students listening. I will go row by row and have each student come in one at a time starting
from the flutes. Once they enter they will sustain and hold their note. They will adjust their
pitch ass needed. Next I will have the students repeat the process but this time I will start from
the last row and end in the front row. Next, I will do a similar exercise. I will go row by row
again starting with the flutes in the front row but this time I will have the students hold their
note for four counts. Then the next player will come in. once the next player comes in the
previous player will stop playing. I will have my class repeat the process starting from the last
row and ending in the front row. Finally, I will have the students end with a chord building
activity. They will all play a concert Bb. When I cue them, they will play one note in a Bb major
triad. This will get them listening to their intonation and provide an opportunity to blend which
will come in useful in the piece. The ensemble will have to blend throughout the piece ad be
Intune because there are multiple instances where instrumentation is thin, there is a solo/soli,
and where there is a change for a shrill and bright sound from the woodwinds. This warmup will
get the students ears listening for all of those things.

10. Technique builder

Students will have in their folders the Standard of excellence book three in their folders. They
will need it for the warmup. I will select one or two technical exercise from the book in 6/8.
Students will sight read the excerpt first as an ensemble. Next I will give them 1 minute to look
at it on their own. Then as an ensemble they will play through it again. Next I will break it down
with them and address the technical errors such as rhythms and articulation. The point of this
warmup is to build students skills and understanding of different technical aspects in 6/8. This
will transfer over to their piece that Is primarily in 6/8. They will be able to apply the new ideas
and new/deeper understanding of how things work in 6/8 to the piece to improve its technical
aspects.

31
 Activities/Assignments

1. Journal Entry writing prompts:

a. What Irish characteristics can you find in J.S. Jig
b. What did you change about the way you played this piece after learning about
Ireland and Jigs? How did it effect the style and how it sounded?

2. Project Rubric

Component Below Standards Meets Standards Exceeds Grade

0-4 5-7 Standards
8-10
Contribution Did not contribute to Put in minimal but not Put in equal to
the group. Uninvolved. equal efforts and great efforts
contributions to the and
group. contributions to
the group.
Content Had vague to no All/almost all of the Very
factual information required information informative and
presented. Little to was presented. factually
none of the required All/almost all of the correct. Had all
information. information presented of the required
was factual. Bare information and
minimum information. more.
Comprehensive
research was
completed very
well
Visually appearance/ Presentation lacked Attempts at Presentation
organization/Creativity creativity and organization were made was creative
organization. Was not but have room for and unique.
visually appealing. Did improvement. Creativity Very organized
not keep the was basic. Presentation and visually
audience’s attention was visually distracting appealing.
and struggled to keep Maintains
the listener’s interest. audience’s
attention and
interest.

32
Delivery Delivery lacked Delivery had minimal Delivery of the
fluency. Presenters errors with fluency. presentation
voices were unclear Presenters voices could was smooth,
and could not be be heard and and the
understood. Delivery understood sometimes. presenter’s
was not carried out by Delivery was unevenly voices were
each member. presented by the clear. Each
members member
delivered
equally and was
able to answer
class questions.
Was equal
between all
group members
In class questions Could not answer Members could answer Members
questions from the some of the classes and answered all
class or teacher about teachers’ questions questions about
their presentation about their their
presentation presentation.

3.Kahoot Day!
a. www.kahoot.it.

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 4. Self Assessment Questionare

Self-Assessment Questionnaire

Name:________________________ Date:_________________

1. Name one element of musical expression you used when playing? Explain how.

2. What is something you did well? What is something the ensemble did well?

3. What is something you plan to fix regarding musical expression in J.S. Jig and where at is
it in the piece? How do you plan on fixing it?

4. What is something the ensemble needs to work on to play with more musical
expression? Explain your answer.

5. Rate your individual performance 1 2 3 4 5

6. Rate the ensembles performance 1 2 3 4 5

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 5. Quiz!

Rhythm Quiz

Name:____________________ Date:_______________

1. What does the 6 in 6/8 represent?

2. What does the 8 in 6/8 represent?

3. How many big beats are there in 6/8?

4. Explain what this symbol means.

5. Count the following rhythms

__ __ __ __ __ __ __ __ __ __ __ __

35
 Resources

Suggested listening
Cantata BWV 147: Herz und Mund Tat und Leben, J. S. Bach
Jesu Joy of Man’s Desiring arr. Alfred Reed
The Jig is up-Daiel Kallman
http://www.kallmancreates.com/jig_is_up,html
J.S. Jig-Brank Karrick

https://www.youtube.com/watch?v=DZZrBC7rGKk

Websites/Readings
https://www.irish-expressions.com/irish-jig.html

https://dance.lovetoknow.com/Irish_Jig

http://www.baroquemusic.org/biojsbach.html

http://www.johnmreese.net/bach_concepts.htm

36