Teacher Guide

First Suite in E-Flat for Military Band

Gustav Holst
Movement I - Chaconne

For High School Concert Band

Ms. Sidnie Davidson
 Table of Contents
Teacher Guide

Unit Introduction............................................................................................................... 3-4

Score Analysis................................................................................................................... 5-10

Grid Analysis.................................................................................................................... 11-12

Warm-Up Guide............................................................................................................... 13

Exercise 1............................................................................................................. 13

Exercise 2............................................................................................................. 14-15

` Exercise 3............................................................................................................. 15-16

Exercise 4............................................................................................................. 16

Exercise 5............................................................................................................. 17

Concept Lessons.............................................................................................................. 18

Lesson 1............................................................................................................... 18-21

Lesson 2............................................................................................................... 21-22

Lesson 3............................................................................................................... 23-24

Lesson 4............................................................................................................... 25-26

Lesson 5............................................................................................................... 27-28

Glossary........................................................................................................................... 29

Student Guide

Learning Goals................................................................................................................ 31

Historical Guide.............................................................................................................. 32

Rhythm Guide................................................................................................................. 33

Melody/Harmony Guide................................................................................................. 34

Glossary.......................................................................................................................... 35

2
 Unit Introduction

Title: First Suite in E-Flat for Military Band: Movement I - Chaconne

Composer/Arranger: Gustav Holst
Publisher: Hal Leonard
Grade Level: 4

Instructional Objectives and Respective National Standards

Warm-Up Goals

 Students will practice relaxing, improving focus, and preparing their bodies to play the
first movement of First Suite in E-Flat with rhythmic breathing gym exercises.

o MU:Pr5.3.E.IIIa Develop, apply, and refine appropriate rehearsal strategies to address individual
and ensemble challenges in a varied repertoire of music.
 Students will practice effective intonation by participating in tuning exercises such as
long tones, Remington exercises, and scale exercises.

o MU:Pr6.1.E.5a Demonstrate attention to technical accuracy and expressive qualities in prepared

and improvised performances of a varied repertoire of music.

 Students will practice rhythmic accuracy and flexibility by participating in rhythmic

exercises such as vocal call and response, “Rhythm Bingo”, etc.

o MU:Pr4.2.E.5a Demonstrate, using music reading skills where appropriate, how knowledge of
formal aspects in musical works inform prepared or improvised performances.

Lesson Goals

 Students will apply the melodic, harmonic, rhythmic, and physical concepts from warm
up activities to the rehearsal and performance of First Suite in E-Flat.

o MU:Pr4.3.E.IIIa Demonstrate how understanding the style, genre, and context of a varied
repertoire of music informs prepared and improvised performances as well as performers’ technical
skill to connect with the audience.

 Students will be able to aurally and visually recognize the ground bass rhythm and
melodic contour of the Chaconne.

o MU:Re7.2.E.5a Identify how knowledge of context and the use of repetition, similarities, and
contrasts inform the response to music.

o MU:Pr4.2.E.5a Demonstrate, using music reading skills where appropriate, how knowledge of
formal aspects in musical works inform prepared or improvised performances.

3
  Students will identify phrase structure in the piece and apply this knowledge to their
performance of dynamics.

o MU:Pr4.3.E.8a Demonstrate understanding and application of expressive qualities in a varied

repertoire of music through prepared and improvised performances.

o MU:Pr6.1.E.5a Demonstrate attention to technical accuracy and expressive qualities in prepared

and improvised performances of a varied repertoire of music.

o MU:Pr5.3.E.8a Develop strategies to address technical challenges in a varied repertoire of music

and evaluate their success using feedback from ensemble peers and other sources to refine
performances.

 Students will be able to recognize their role in the piece at specific times (if they have the
melody vs. harmony)

o MU:Pr4.2.E.IIIa Examine, evaluate, and critique, using music reading skills where appropriate, how
the structure and context impact and inform prepared and improvised performances.

o MU:Pr4.3.E.IIIa Demonstrate how understanding the style, genre, and context of a varied
repertoire of music informs prepared and improvised performances as well as performers’ technical
skill to connect with the audience.

 Students will make connections with the piece and historical context and apply this
knowledge to their musical decisions while rehearsing and performing.

o MU:Re7.2.E.IIIa Demonstrate and justify how the analysis of structures, contexts, and performance
decisions inform the response to music.

o MU:Re9.1.E.IIIa Develop and justify evaluations of music, programs of music, and performances
based on criteria, personal decision-making, research, and understanding of contexts.

o MU:Cn11.0.T.IIIa Demonstrate understanding of relationships between music and the other arts,
other disciplines, varied contexts, and daily life.

 Students will assess their own performance recording by journaling and filling out a self
evaluation rubric.

o MU:Pr5.3.E.5a Use self-reflection and peer feedback to refine individual and ensemble
performances of a varied repertoire of music.

o MU:Pr4.3.E.5a Identify expressive qualities in a varied repertoire of music that can be

demonstrated through prepared and improvised performances.

4
 o MU:Pr5.3.E.IIIa Develop, apply, and refine appropriate rehearsal strategies to address individual
and ensemble challenges in a varied repertoire of music.

Score Analysis
Unit 1: Composer

Gustav Holst was born on September 21, 1874 in Cheltenham, England. Holst was the

first of two children to Adolph and Clara von Holst. Gustav’s father, Adolph, was an

accomplished pianist. He taught piano to those in his community and spent most of his time

practicing. The family, Swedish in origin, migrated in England soon after one of Gustav’s

ancestors fell out of favor as a court composer in Russia and was exiled to Germany. When they

first met, Clara was a piano student of Adolph’s. Clara died soon after the birth of her second

child, when Gustav was only eight years old.

5
 Gustav was observed to be a somewhat miserable and oversensitive child. He had several

medical conditions to attend to, such as bad eyesight and asthma. When Gustav was young, he

hated practicing the violin. However, he enjoyed the piano significantly. Adolph, his father, was

determined to make Gustav a fine pianist. Something that got in the way, however, was Gustav’s

neuritis in his hands. This caused severe pain while he was practicing.

In 1893, Holst participated in his first professional engagement. He served as an organist

in a small village and then became an organist and choirmaster of the choral society at Bourton-

on-the-Water. The early experiences he gained helped him grow in the choir world, which would

then lead to choral music becoming a staple in the rest of Holst’s life.

Holst married Isobel Harrison in 1901 and taught at the James Allen’s Girls’ School in

Dulwich for two years before being appointed Director of Music at St. Paul’s Girls’ School in

Hammersmith in 1905. During his time as a teacher, he composed his most famous work, The

Planets. It took him over two years to complete this piece, as his duties as a teacher were taking

up most of his time. Throughout his life, Holst continued to compose orchestral music, wind

ensemble music, operas, chamber music, and vocal music of many different styles.

Gustav Holst, at age 59, died of heart failure on May 25, 1934 following an operation on

an ulcer. His ashes were interred at Chichester Cathedral, next to those of Thomas Weelkes, who

had been the organist of the Cathedral more than 300 years before.

Unit 2: Composition

Gustav Holst’s First Suite in E-flat for Military Band was composed in 1909. When this

Suite was written, concert wind band music consisted of reductions of pieces originally scored

for orchestras. This Suite was ground-breaking in that is was written exclusively for wind band

and is considered Holst’s first step toward achieving his goal of making the concert band a

6
serious concept. The piece starts off with the movement “Chaconne”, a melody of just sixteen

notes that starts in the baritone and makes its way throughout the whole band. In the middle of

the piece, the trombone plays the inversion of this progression. This gesture become a staple of

many more compositions in the years to come from various composers. The finale of the first

movement is marked by a very strong fortissimo in every instrument and a sustained chord by the

upper winds, as the lower brass drops out.

The remaining two movements of the revolutionary work are called “Intermezzo” and

“March”. Interestingly enough, these movements are both slight variations of the first movement

“Chaconne”. The “Intermezzo” movement is marked vivace, which is lively and vibrant in

tempo. Through this, we are definitely shown Holst’s mastery in writing for woodwind

instruments. The piece then ends with the movement “March”. This movement is in ABA form,

however, it includes some interesting play with counterpoint and a combination of the two

melodies.

Unit 3: Historical Perspectives

Even though the Suite was completed in the year 1909, the Suite did not receive its official

premiere until 11 years after. This historical day was on June 23rd, 1920. It was premiered by a

group of 165 musicians at the Royal Military School of Music at Kneller Hall in London,

England. Even though the work was premiered by such a large ensemble, it was originally

written to be performed by ensembles much smaller in instrumentation. This was because in this

time period, there were no significant literature that had been previously composed for the wind

band. So, Holst scored the work so it could be played with a minimum of 19 musicians, with 16

7
additional parts that could be added or removed without compromising the performance of the

piece or the integrity of the work.

Unit 4: Technical Considerations

Movement 1:

Rhythm: Most complex rhythm is sixteenth notes throughout the piece

Ranges: Clarinets must play written F6 in m. 46. Horns have challenging leaps throughout the

piece (m. 58 for example). Trombone must play written high A-flat 4 in measure 33. Tuba will

have to play F written below the staff (octave) in m. 58. Written C5 in final chord of movement

for Trumpets.

Movement 2:

Rhythm: Rhythm not too complex. E-flat clarinet eight note accompaniment should be brought

out and featured. Tempo is at 152, could be challenging to sound effortless. Work on smooth

playing with connection.

Ranges: All clarinets, bassoons, and saxophones have difficult chromaticism 4 before B. Flutes

must focus on keeping air moving through each statement. (6 before B for example)

Movement 3:

Rhythm: Final woodwind eighth note triplets will be challenging for synching tongue and fingers

for good articulation of sound.

Ranges: Cornet 1 plays on top of the staff for long periods of time during A sections. Slurring

would be much easier for woodwinds in this register. Having the students know the relationships

between E-flat major, C minor, and A-flat major scales would be helpful to understand piece

function.

Unit 5: Stylistic Considerations

8
Movement 1: Make sure the tempo is not too slow. Allegro moderato marking. Legato marking

in m. 8 for low brass. Staccato at A will provide contrast to beginning. M. 58-97 should be very

“soloistic”, each part should be brought out equally and strong.

Movement 2: Two basic styles: light, detached staccato and a simple legato. The main focus

should be the attention to the last notes of phrases in the accompaniment and being sure they are

not abrupt. The last four measures should gradually get softer and lighter as the line ascends up

to the C. Consider conducting in a light 2 style for light sections and a macro pulse for the legato

sections.

Movement 3: The march features a contrast between a very British March style and a trio

section that is almost chorale-like. British marches are to be performed with some separation or

lift with emphasis on tone control. Encourage the brass to play no louder than a forte dynamic as

to not spread their sound. The ensemble can show off their musical maturity with the trio section

be performing 8-measure phrases and shaping the musical line with swells. Consider conducting

in a legato 4 pattern as to encourage long phrases and think about releases.

Unit 6: Musical Elements

Melody:

Since the ‘Chaconne’ theme is varied and echoed through the entire Suite, it is easy to compare

the first notes in each theme. Holst uses major, minor and modal melodies and a worthwhile

exercise would be to compare the half- and whole-step patterns of these modes since Holst,

Vaughan Williams, and Jacob all freely use these scales in their compositions. Every instrument

has melodic material in this work.

Harmony:

9
The harmonic language is not complex. In the second half of the development of the third

movement, C is prolonged through a progression featuring a rising chromatic line.

Rhythm:

Throughout the whole Suite there is a steady pulse and consistent feeling of meter. Each

movement is consistent in its treatment of duple or triple meter. The pulse does not slow until the

end of the first movement and the end of the third movement. The third movement also has more

motion after the meno mosso to end in a very exciting flourish. Holst sets the pulse through his

preference for tuba and low reeds.

The timbres in this work are consistent with the writing for British bands in the early 20th

century. The flutes are primarily written in unison, including the upper register. There is a lot of

cornet and trumpet in the scoring which constitute a soprano brass voice in 4-5 parts. Tuba and

euphonium are doubled to create a unifying bass line but euphonium also has many parts where

it is the primary tenor line. Euphonium is as important of a melodic voice as the cornet in British

brass band tradition. There is great contrast and mastery in the writing for many instruments.

Holst demonstrates opportunities for solos and in some instances, highlights larger sections of

the ensemble by setting a chamber music style featuring a woodwind quintet or a brass ensemble.

Unit 7: Form and Structure

Movement 1

Form: Passacaglia (theme and fifteen variations)

The theme and all variations are in E-flat major except variations nine and ten, which are in C

minor, using an inversion of the theme. All phrases are 8 measures long except for those in

variation 13 (mm. 105-113) and variation fifteen (mm. 122-131).

Unit 8: Suggested Listening

10
Holst, Gustav: Second Suite in F

The Planets

Hammersmith

Unit 9: Additional Reference and Resources

http://www.gustavholst.info/

Emge, Jeffrey. Teaching Music through Performance in Band. Vol. 1. Chicago: GIA

Publications, 2009. Print. pp. 488-498.

Grid Analysis

11
12
 Warm-Up Guide

Exercise 1: Hawaii Breathing

Lesson Sequence:

 Hello everyone! I hope you’re having a great day. Today, we are going to start out with a
breathing exercise called “Hawaii Breathing”.
 Who here has ever been to Hawaii? Awesome. So, in Hawaii, there is beautiful, crisp,
clean air. That is the kind of air I want you to breathe with when you are preparing to
play your instruments.
 So, everyone stand up and make sure you are giving yourself plenty of room to breathe
and relax.
 So often times when people talk about breathing, they say things like “You need to work
on your breathing!” When really, it is more like you need to work on your relaxation.

13
  Breathing like a musician is just learning how to relax enough to take in the needed
amount of air.
 When you take in air, the sensation and space should come from your mouth and throat
as if you are yawning. That is the amount of space you should feel when taking in air, as
well as most of your air should be felt beneath your belly button.
 So, this exercise 16 counts in total each time. You are going to take in a full breath
throughout 4 counts. While doing this, the shape of your embouchure will change. You
are going to say HA-WAI-EE. That is why it is called Hawaii Breathing.
 The HA lasts 2 counts, whereas the WAI and the EE last 1 count each. So, like this!
 T demonstrates with metronome
 Then, you are going to hold your air for 4 counts, and then release with a FFF sound for 8
counts.
 This exercise really stretches the lungs and helps you practice taking in more and more
air.
 Let’s try it together once! *metronome*
 1, 2, ready, go! T and S do breathing exercise together
 Okay, good. Now we are going to do this exercise 4 times, but the metronome will get
faster each time. This is going to build your endurance as well.
 1, 2, ready, go! T and S do breathing exercise together 4 times, gradually excelling in
tempo

Exercise 2: Rhythm Bingo Card

Lesson Materials

 There would be a new one made for each unit/piece, but this “Bingo Card” includes
rhythms from First Suite in E-Flat: Movement I Chaconne.

14
Lesson Sequence

 Alright, who is ready for some Rhythm Bingo? (project card on screen)
 These are all rhythms that we will play throughout our new piece. First, let’s just play
through all of them all together. Everyone, please play your concert Eb on a mezzo-forte
for me. (cue)
 Good. We are going to play our concert Eb while we play these rhythms. What time
signature are we in? (3/4)
 Good. Let’s set up the metronome. (Set metronome to 96 BPM, which is tempo of the
piece)
 Alright, reading from left to right, let’s start at the top left corner. Play each rhythm once
with 3 beats in between (one measure). We do the 3 beats in between so you have an
opportunity to set yourself back up for the next rhythm. You ready?
 Alright. 1, 2, 3, 1, ready, go! (read card left to right all the way through)

15
  T reviews rhythms with students that were challenging
 Okay good! Now, let’s see who can get a bingo!
 T calls each section
 Okay, flutes! Where would you like to try to get a bingo? (First chair leader says top row
straight across, for example)
 Okay, I’m going to count you off and the flutes will play through the top row. If they get
it right, they get a bingo! Ready? 1, 2, 3, 1, ready, go!
 S play. Goal is rhythmic accuracy.
 That’s a bingo! Okay, let’s clear the card. Trumpets, your turn!
 Repeat process with all sections (or combine sections for time constraints)

Exercise 3: Unison Long Tones

Lesson Materials

Lesson Sequence

 Hello everyone! We are going to start with long tones today.

 Long tones help us learn to sustain long notes with good energy and support all the way
until the release.
 We also have to remember to use our bodies and our eyes, as well as our ears, to release
notes together.
 If you take a look at the picture I have up on the board, each different color represents a
different section in the band. Can someone tell me the difference between 1 and 2?
 Yes, one line is connected, and one line is separated.
 Which line do you think I want you to imitate with your sound when we are playing long
tones?
 Yes! Number 1. Because it is connected. The color of the sound changes, but the
sustained note stays long and connected.
 Let’s go ahead and try it.
 What key is Chaconne in at the beginning?
 Yes, E-Flat Major. Everyone play your concert E-Flat note on my cue.
 (cue) Okay, remember to start the note together and end the note together. Let’s try that
one more time. (cue) Good.

16
  Now, we are going to go section by section. I will call out which section goes next. We
are going to start with the flutes. Flutes, you are going to play your concert E-flat note on
a fermata. And then, when I cue the clarinets, they will take over the concert E-flat and
the flutes will release. Remember to try to make it all as connected as possible.
 (long tone activity)
 Great job everyone. So just remember while we are playing Chaconne to listen to the
other sections and know who you are picking up the melody from and who you are
passing it off to.

Exercise 4: Flow Studies

Lesson Materials

Begin by passing out John McAllister’s Flow Studies.

https://www.johnmcallistermusic.com/uploads/2/4/7/2/24727629/flow_studies_-_full_band_-
_score_and_parts.pdf

Lesson Sequence

 We will be playing through all five of the flow studies today.

 What do you notice about this exercise? What kind of articulation marks do you see?
 Right, everything is slurred. Do you see any dynamic marks? Correct, no!
 So, while you are playing these flow studies, you as the musician have to make musical
decisions on how you want these studies to sound. Do you want any swelling?
Crescendos and decrescendos? Some push and pull between each other?
 Let’s try it and try to make some musical decisions together. I am going to give you very
little, so you have to take the reins here!
 (Run through flow studies once)
 Okay. Now, talk with your shoulder partners and discuss:
o What did we do well as an ensemble?
o What can we do better next time?
o What do we physically need to do with our bodies to complete that task?
 (Take some suggestions from the ensemble)
 Alright, let’s do it again with what we discussed in mind.
 (Run through flow studies another time)
 Good job. Now, next time, let’s try and make it sound completely different!

Exercise 5: Function Chorale

Lesson Materials

17
Lesson Sequence

 Hello everyone. Go ahead and pull up the “Chaconne Function Chorale” that I have
passed out to you.
 So in this chorale, you see numbers instead of musical notes. The numbers mean you play
the number of the scale. So, if you are in the key of E-flat, and your number says 1, you
are going to play E-flat because it is the first note in an E-flat Major scale. If you are still
in the key of E-flat, and your next number says 3, what note are you going to play?
 G! Right. Because G is the third note in an E-flat major scale.
 So, these are chords that I pulled directly from our piece, the first movement Chaconne in
First Suite in E-Flat for Military Band. The chord progression is essentially the same as
the Chaconne theme you will hear throughout the entire piece.
 We are going to play through this function chorale together. Each box is a fermata. So on
each note we play, I am listening for good tuning and balance before we move on to the
next. This is to get you all to open your ears and know your role.
 Let’s try it! (Play through chorale)
 Good, what do you think we did well and what do you think we could’ve done better?
Discuss it with your shoulder partner.
 Alright, let’s do it one more time! (Play through function chorale again)
 Great job. So, when we are playing through this piece, make sure you are listening for
when you have this Chaconne theme. That means you are the foundation in that particular
spot. And then, listen around when you don’t have it to identify who does so you can play
softer and bring that part out.
Concept Lessons

Lesson 1: Historical/Cultural

18
Lesson Materials
 Kahoot for assessment
 https://create.kahoot.it/share/chaconne-history/301389c7-ca63-4728-8dea-8aa1c895d011
 History of Chaconne Powerpoint

Lesson Sequence

19
  Hello everyone. Today, we are starting a brand-new piece! Take a look up at the board
and let’s learn about the history behind it.
 (Show history Powerpoint and talk through each slide)
 Alright, talk to your shoulder partners about the most interesting thing you learned about
this piece. Go! (give students 1-2 minutes to discuss)
 Alright! Let’s test how much you were paying attention!

Assessment 1: Kahoot Quiz (Formative Assessment)

20
21
  Students participate in the Kahoot on their mobile devices or school issued laptops/ipads.
Teacher takes the results of the Kahoot and records them to know the percentage of the
group that retained the correct information from the history presentation.

Lesson 2: Form

Lesson Materials

Lesson Sequence

 We are going to learn about the form and phrasing of the Chaconne today.
 When I say something is taking form, what am I thinking of?
 Shape! Right. So, when you think of the shape of a song, what directions do you think
about?
 Up and down, forward or backward. Right.
 In order for music we listen to to sound interesting and exciting, it has to take some sort
of shape. That is where phrasing comes in.
 Think of phrasing as a musical sentence. You wouldn’t....just....breathe in the middle....of
your sentences....when you’re in....a job interview. Right? You want to speak with poise
and elegance but also seem enthusiastic and excited when you need to be too.
 Every musical phrase is like a spoken sentence. Without emotion, it has no meaning.
 Take a listen to the first few seconds of the Chaconne. While you’re listening, can you
raise your hand every time you think the player should breathe? (play Chaconne)
 Now, how would you sing this with your voices if you had to perform it in front of an
audience? Would you be dull, flat, emotionless? No! You would give it some push and
pull and some inflection like you heard in the recording.

22
  Let’s stand up and try singing it together! It’s okay if it isn’t perfect. No one is here to
judge! Let’s sing it on a La. Tuba, can you play us your concert Eb please for our starting
note? (Cues band to sing the Chaconne) (Leads band in making phrasing decisions)
 Good! So, notice how you all collectively decided when it made the most sense to
breathe, when to crescendo, when to decrescendo, etc? You can do the exact same thing
on your instruments and it should be your goal to do that every single time you play.
 Take a look at this little drawing. (Show rainbow drawing) And listen to Chaconne again
and see if you can figure out what the phrasing, or musical sentence, should sound like
when you play. (Play Chaconne)

 So, the little arches under the big arch means something. Can anyone tell me what it is?
 Yes, so the end of the first little arch is sort of like a comma in the sentence. And then the
sentence carries on till the end or the punctuation. The big overarching rainbow here is
representative of how the whole phrase should feel.
 So, each musical sentence in the Chaconne is different in some way. Each time,
something is added or taken away and creates a new shape. In this piece, they are called
“variations”. There are 16 variations in the Chaconne. Do you think we could identify
them all?

Assessment 2: Labeling Variations (Diagnostic Assessment)

 I am going to give you all 15 minutes. In these 15 minutes, I want you to work with your
sections and see if you can label each variation in your music. Label each new variation
with a star, number, whatever is easiest for you! I am going to keep the Chaconne playing
in the background, so you have something aurally to reference.
 When you are done, go ahead and take pictures of your music and turn the pictures in on
Google Classroom for your assessment today.
 Assessment tool: Checklist

Name V V V V V V V V V V1 V1 V1 V1 V1 V1 V16
2 3 4 5 6 7 8 9 0 1 2 3 4 5
1
Julie            
John               
Taylo             
r
Dot = identified correctly
Blank = Did not identify correctly

23
Lesson 3: Melody

Lesson Materials

24
Lesson Sequence

 The melody, or most important part, of this piece, as we have gone over, is the Chaconne.
Each person has the melody at some point. Here is what it looks like in most parts (the
rhythm, at least) (Show picture of music)
 Now that you have each variation labeled in your music, you should be able to follow
along and see at which parts do you have the most important part, which is the melody.
 Go ahead and pull out the Melody Worksheet I passed out at the beginning of class.
 Now, as a class, we are going to listen to the Chaconne and pause after each variation.
When we pause the music, raise your hand if you think your part has the melody. If the
majority agrees, we will write it down in our melody charts which instrument has the
melody and when.
 This way, when I ask in rehearsal, “Who has the melody here?” or “Who needs to be
brought out the most at measure blank?” You can quick reference your chart if you don’t
know just by listening. Alright, let’s try it!
 (Identify with class each part with melody in each variation)

Assessment 3: Melody Exit Tickets

 Please fill out a piece of scratch paper with the answers to these questions. Please
remember to put your name on it!

o What is your instrument?

o During which variations does your instrument have the melody in Chaconne?

o What are some ways we, as an ensemble, can make sure we are always
highlighting the melody while we play? (Physically, aurally, or both!)

25
Lesson 4: Harmony

Lesson Materials

Lesson Sequence

 Harmony is when several notes, (in the same chord most of the time), are played at one
time. There is a certain balance between voices/instruments that needs to happen for the
harmony to sound really clear and powerful.
 Harmony happens constantly in the Chaconne. Everything that is played that is not the
melody, which we talked about last time, is considered the harmony. While melody is
most important, the harmony’s job is to support the melody, which is also very important
and should be treated as such.
 There are three levels of listening you should go through in your head while you are
playing. (go through levels of listening) While this helps the most with intonation and
blending, this can also help with trying to identify what your role is in the ensemble.
 We are going to try a harmony exercise to help you learn how to bring it out during the
piece.
 What key is the Chaconne in? E-flat, correct!
 Everyone please play your concert E-flat at a mezzo-forte for me on my cue. Horns up.
(cue) (cut off)
 Good. So, brass, please continue playing your concert E-flat after the second cue I give.
Woodwinds, you are going to move up to your concert B-flat in the octave above. But
everyone plays their concert E-flat the first cue. Got it? Okay, concert E-flat (cue). Brass
stay the same, woodwinds concert B-flat (cue).
 What did you hear? Can someone raise their hand and tell me? (class discussion)
 Okay. Now, remember the three levels of listening this time. When the woodwinds start
the harmony, all of you go through your three steps of listening and see if we can create

26
 better balance and less sound waves in the tuning. Ready? Horns up. (cue) Woodwinds.
(cue)
 Was that better or worse? Better! Good. So, remember, when you are playing the
harmony parts in the piece or any piece for that matter, remember to go through your 3
levels of listening and know your role!

Assessment 4: Harmony Section Presentations

 Each section of the band will be tasked to create a 5 minute mini presentation about
harmony.
o You will be given 30 minutes to create your 5 minute presentation.
o During your presentation, consider the following:
 What is harmony?
 What do we do with our instruments to create harmony?
 What are the 3 levels of listening and how can they be used to create
harmony?
o You may create a Powerpoint, poster board, or instrument presentation. But there
must be a visual element of some sort.
o Presentation is to fall within the given timeline of 5 minutes, must mention all
of the considerations listed above, and given with professionalism in mind.
o Good luck!
Rubric

Grading Rubric

Criteria Exemplary (5) Proficient (4) Developing (3) Novice (2)

Timeline and Students Students Students Students
visual aspect presented within presented 1 presented 2 presented 3 or
5 minutes and minute or less minutes or less more/less
with a visual over or under over or under over/under
aspect desired timeline desired timeline. desired timeline.
Considerations Students Student Students Students
presented with presented with 2 presented with 1 presented with 0
all out of 3 out of 3 out of 3
considerations considerations considerations considerations
from the mentioned. mentioned. mentioned.
assignment
mentioned.
Professionalism Students Students paid Students paid Students did not
presented with attention to most very little pay attention to
complete professional attention to professional
professional characteristics. professional characteristics
characteristics in characteristics
mind.

Score: ____/15

27
Lesson 5: Rhythm

Lesson Materials
 https://www.youtube.com/watch?v=2ZnB65HusgE Chaconne Recording
 Chaconne Rhythm Handout

Part 1

Part 2

Lesson Sequence

 I want you to listen to this part of the Chaconne and pay attention to specifically the
rhythms you hear. (Play video 2:10)
 What did you hear? Specifically when it comes to rhythm. (Class discussion)
 Good. So, the biggest challenge in the Chaconne is highlighting the triplet versus duple
feel. You have the main melody that we need to support the whole way through. But
then, over the top of that, we have triplet harmonies that need to be highlighted and
complimented as well. Your inner pulse needs to be going the entire time during this
piece.
 Everyone pull out the “Chaconne Rhythm Handout”. What do you notice about “Part 1”?
 Yes, it is the same rhythm as the melody in the Chaconne. Notice how part 1 is in duple
feel, and part 2 is full of triplet rhythms.
 First, let’s have everyone stand up as you are able. When it comes to rhythm, the best
thing to do is feel it on our bodies first.
 I am going to put the metronome on, and we’re going to clap and pat these rhythms
together. During part 1, I want you to clap the rhythm. During part 2, I want you to pat
the rhythm on your knees. Notice how in part 1, we rest 2 counts in the beginning, so
watch out for that. First, let’s all do together part 1 and then part 2. 1, 2, 3, 1, ready,
go! (go through movement exercise)
 Okay, good. Next, brass players are going to be Part 1. Woodwinds are going to be Part
2. We are going to do our parts at the exact same time. Make sure as you are clapping and

28
 patting, that you are listening to the other part and seeing how your part matches in with
theirs.
 Ready? 1, 2, 3, 1, ready, go! (go through movement exercise)
 Good. So, what was challenging about that? (class discussion)
 Good. Let’s try it one more time and then we’re going to put it on our instruments. This
time, switch parts! Woodwinds are part 1, brass are part 2. (go through movement
exercise)
 Good job. Now, let’s grab our instruments. We are going to be playing these rhythms on
our instruments now on a steady concert E-flat. Transfer the same things you learned
with your bodies to your instruments.
 Brass, play part 1. Woodwinds, play part 2. Ready? 1, 2, 3, 1, ready, go! (go through
exercise on instruments)
 Okay, switch parts! 1, 2, 3, 1, ready, go! (go through exercise again on instruments)
 Good job everyone. So, make sure you are transferring this skill you learned today while
you are playing these rhythms in the Chaconne.

Assessment 5: Group Peer Assessment/Class Discussion

 Okay, so your question is:

o Show me with your thumbs (up, middle, down) how do you think that went?
o Was it together?
o Okay, good. What are some things we can do better next time? (Class discussion)
 Are students matching pulses/rhythms approximately 90% of the time? If not, go back
and review as necessary.

29
 Glossary

Articulation-how a note is played, based on the beginning, middle, and end of the note. Ex:

staccato, marcato, legato

Chaconne- a composition in a series of varying sections in slow triple time, typically over a

short-repeated bass theme

Duple meter-a musical meter characterized by a primary division of two sub-beats to one beat.

Form-overall structure or plan of the piece

Harmony-the sounding of two or musical notes at the same time

Legato-smoothly, with no breaks in between

Melody-a sequence of single notes; the principle part in harmonized music

Range-distance from lowest to highest note

Texture-how the melodic, harmonic, and rhythmic elements are combined, determining the

quality of sound of a piece

Triple meter-a musical meter characterized by a primary division of three sub-beats to one beat.

30
 Student Guide
First Suite in E-Flat for Military Band
Gustav Holst
Movement I - Chaconne

For High School Concert Band

Ms. Sidnie Davidson
31
 First Suite in E-Flat – Movement I “Chaconne”
Learning Goals

1. Students will be able to perform and understand the entirety of First Suite in E-Flat –
Movement I “Chaconne” entering high levels of musicality.

2. Students will understand the form analysis of the Chaconne.

3. Students will understand the use of musical themes.

4. Students will develop independent musicianship skills through identifying and knowing
their roles in the piece.

5. Students will be exposed to and develop effective practice strategies for ensemble and
solo playing.

32
 First Suite in E-Flat – Movement I “Chaconne”
The History

Unit 3: Historical Perspectives

Even though the Suite was completed in the year 1909, the Suite did not receive its official

premiere until 11 years after. This historical day was on June 23rd, 1920. It was premiered by

a group of 165 musicians at the Royal Military School of Music at Kneller Hall in London,

England. Even though the work was premiered by such a large ensemble, it was originally

written to be performed by ensembles much smaller in instrumentation. This was because in

this time period, there were no significant literature that had been previously composed for the

wind band. So, Holst scored the work so it could be played with a minimum of 19 musicians,

with 16 additional parts that could be added or removed without compromising the performance

of the piece or the integrity of the work.

Gustav Holst Royal Military School of Music

33
 First Suite in E-Flat – Movement I “Chaconne”
Rhythmic Considerations

To prepare for class, practice the following rhythms...

 In 3/4 time

 Metronome goal of 96 BPM

 On a concert E-Flat on your instrument or through pats, claps, etc.

Melody Rhythm

Harmony Rhythm

Other ways to prepare:

 Put on the Chaconne and mark time

 Sing/chant the rhythms with a metronome

 Sing/chant with a partner

 Sing/chant the rhythms backwards (from right to left)

34
 First Suite in E-Flat – Movement I “Chaconne”
Melodic and Harmonic Considerations

Melody

The melody in the Chaconne is used as a foundation throughout the entire movement. You can

hear it at all times, but just passed around from voice to voice (instrument to instrument). What is

important is for you to know when you have the melody in your music and highlight it.

The melody looks something like this:

Listen to the recording on Youtube of the Chaconne. The beginning highlights only the melody

line, so this will help you identify it when you play!

Harmony

In a Chaconne, there is a main bass line (melody) that is supported by triplet-figured harmonies

over the top. When you play the harmony, it may look something like this.

To prepare:

 Identify your harmonies in your music and highlight/mark them. Also make sure to be

aware of your dynamics, as this will help you know your role at certain times.

35
 Glossary

Articulation-how a note is played, based on the beginning, middle, and end of the note. Ex:

staccato, marcato, legato

Chaconne- a composition in a series of varying sections in slow triple time, typically over a

short-repeated bass theme

Duple meter-a musical meter characterized by a primary division of two sub-beats to one beat.

Form-overall structure or plan of the piece

Harmony-the sounding of two or musical notes at the same time

Legato-smoothly, with no breaks in between

Melody-a sequence of single notes; the principle part in harmonized music

Range-distance from lowest to highest note

Texture-how the melodic, harmonic, and rhythmic elements are combined, determining the

quality of sound of a piece

Triple meter-a musical meter characterized by a primary division of three sub-beats to one beat.

36