yler Long
T
Full-Year Curriculum
6A High School Wind Ensemble
Dr. Phillip Payne
MUSIC 512
20 October 2023
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Table of Contents
ourse Description………………………………………………………………………………...2
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Program Goals…………………………………………………………………………………….2
Course Goals………………………………………………………………………………………2
Course Objectives…………………………………………………………………………………3
Scope and Sequence……………………………………………………………………………….4
Performance #1: Fall………………………………………………………………………………5
Performance #2: Winter…………………………………………………………………………...8
Performance #3: Festival………………………………………………………………………...12
Performance #4: Spring………………………………………………………………………….15
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Course Description
ind Ensemble is the top auditioned group within the music program. The wind
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ensemble performs four concerts each year - three public performances and one festival
performance. This course is designed to explore literature from a variety of social, cultural, and
historical backgrounds, and providing students with the appropriate knowledge and rhetoric to
identify and describe these musical experiences. Students within this course will advance
musical techniques and be given opportunities to put these techniques into practice. Throughout
this course, all students are given an equal opportunity for success and provided with the
necessary tools to become the most effective musician possible.
Program Goals
● tudents will have skills in performing on their instrument.
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● Students will have skills in reading and writing music.
● Students will develop an understanding of fundamental music theory concepts.
● Students will have skills in listening, describing, analyzing, and detecting errors in music,
with the ability and willingness to correct applicable errors.
● Students will demonstrate an ability and willingness to take critique and advance their
musical aptitude using these critiques.
● Students will discover real-world social, cultural, and historical connections based on the
content covered throughout the program.
● Students will develop the ability to self and peer-assess.
● Students will examine music as it relates to other art forms and curricular disciplines.
● Students will develop an understanding of proper rehearsal and concert etiquette.
Course Goals
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● tudents will strive to perform all ensemble music with excellence.
● Students will read a variety of music and develop a deeper understanding of
compositional techniques incorporating these pieces of music.
● Students will have skills in sight-reading music.
● Students will identify and describe theoretical concepts of music, such as melody,
countermelody, harmony, form, texture, and chordal structures.
● Students will develop awareness as an ensemble member to diagnose and correct errors.
● Students will use critiques to advance their musicianship in individual practice.
● Students will discover how music historically influences societies and cultures.
● Students will evaluate personal and peer performances to strengthen their self-assessment
abilities and develop the ability to provide constructive feedback to others.
● Students will examine the music performed to examine cross-curricular connections.
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Course Objectives
● B y the end of the course, students will demonstrate proper instrument and musical
technique while performing with no fundamental mistakes present.
● By the end of the course, students will demonstrate the ability to perform with
age-appropriate tone during rehearsals and performances at least 95% of the time.
● By the end of the course, students will be able to use the compositional techniques
incorporated in the pieces they are performing to be able to perform and compose using
these techniques with correct rhetoric and logic.
● By the end of the course, students will be able to examine music from various social and
cultural backgrounds and describe these connections using proper rhetoric and logic.
● By the end of the course, students will be able to perform a piece of music from sight
with fewer than 5 mistakes in rhythm and note accuracy.
● By the end of the course, students will be able to identify fundamental music theory
concepts, such as melody, countermelody, harmony, and form, in each piece they are
performing using correct rhetoric and logic.
● By the end of the course, students will be able to diagnose ensemble and individual errors
and provide appropriate strategies to correct these errors using correct rhetoric and logic.
● By the end of the course, students will be able to demonstrate an ability to use critiques to
advance their musicianship within individual practice by creating a practice journal to
record progress.
● By the end of the course, students will be able to examine music from historical, cultural,
and societal points of view within each piece they perform and describe these
connections using correct rhetoric and logic.
● By the end of the course, students will be able to critique personal and peer performances
and provide constructive feedback to promote musical growth with the use of peer and
self-assessment rubrics using correct rhetoric and logic.
● By the end of the course, students will be able to demonstrate an understanding of how
music relates to other arts and curricular subjects by drawing at least one connection from
each piece they perform.
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Scope and Sequence
Fall Winter Festival Spring
Rhythm Choose Joy Sparkling Lights Albanian Dance frica: Ceremony, Song,
A
and Ritual
Melody I rish Tune from Holiday
A Declaration Overture Little Fugue in G Minor
County Derry Celebration
Harmony Blue Ridge Rhapsody Sparkling Lights English Folksong Suite El Camino Real
usical
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Elements Texture March-Bou-Shu Dreidel Dance Declaration Overture frica: Ceremony, Song,
A
and Ritual
Timbre I rish Tune from Dreidel Dance Albanian Dance frica: Ceremony, Song,
A
County Derry and Ritual
Form Blue Ridge Rhapsody Greensleeves English Folksong Suite Little Fugue in G Minor
Musical Expression I rish Tune from Greensleeves English Folksong Suite An American Elegy
County Derry
Fall Winter Festival Spring
Styles/Genres pener/Fanfare
O anfare
F verture
O rimitive Folk Music
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Rhapsody Theme and Variations Folksong Suite Fugue
Folksong Secular Chorale Dance Ballad
March Medley Latin Dance
Historical Periods 2 1st Century 2 1st Century 2 0th Century 2 1st Century
Baroque 20th Century 21st Century Baroque
Musical 20th Century 14th Century 20th Century
Topics
Cultures merican
A merican
A nglish
E frican
A
Irish English American American
Japanese Traditional Judaism Eastern European Spanish
(Albanian)
National Standards U:Pr4.2.E.IIa
M U:Pr5.3.E.IIa
M U:Pr4.2.E.IIa
M U:Pr6.1.E.IIa
M
MU:Re7.2.E.IIa MU:Cn11.0.T.IIa MU:Re9.1.E.IIa MU:Re7.2.E.IIa
MU:Cr1.1.E.IIIa MU:Re8.1.E.IIa MU:Pr6.1.E.IIa MU:Cr1.1.E.IIa
MU:Pr4.3.E.IIa MU:Pr4.2.E.IIa MU:Pr6.1.E.IIb
MU:Cn11.0.T.IIa
Lesson Plans ctivities/Sample
A Journal Entry reate Your Own
C Peer-Assessment Rubric Fugue Composition
Lesson Plans Dreidel, Exit Ticket
Fall Winter Festival Spring
Choose Joy Sparkling Lights Declaration Overture Africa: Ceremony, Song,
Blue Ridge Rhapsody Dreidel Dance English Folksong Suite and Ritual
Music (Content) Selections Irish Tune from Greensleeves Albanian Dance Little Fugue in G Minor
County Derry A Holiday An American Elegy
March-Bou-Shu Celebration El Camino Real
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Performance #1: Fall
Performance Selections:
● “Choose Joy” by Randall Standridge
● “Blue Ridge Rhapsody” by John Kinyon
● “Irish Tune from County Derry” by Percy Grainger
● “March-Bou-Shu” by Satoshi Yagisawa
Skills/Elements Addressed:
● “Choose Joy”
○ Rhythm
● “Blue Ridge Rhapsody”
○ Harmony and Form
● “Irish Tune from County Derry”
○ Melody, Timbre, and Musical Expression
● “March-Bou-Shu”
○ Texture
Styles/Genres, Historical Periods, Cultures, and National Standards Addressed:
● “Choose Joy”
○ Style/Genre: Opener/Fanfare
○ Historical Period: 21st Century
○ Culture: American
○ National Standard:MU:Pr4.2.E.IIa:Documentand demonstrate, using music
reading skills where appropriate, howcompositional devicesemployed and
theoreticalandstructuralaspects ofmusical worksmay impact and inform
prepared and improvisedperformances.
● “Blue Ridge Rhapsody”
○ Style/Genre: Rhapsody
○ Historical Period: 20th Century
○ Culture: American
○ National Standard:MU:Re7.2.E.IIa:Explain how theanalysisofstructuresand
contextsinform the response to music
● “Irish Tune from County Derry”
○ Style/Genre: Folksong
○ Historical Period: 20th Century
○ Culture: Irish
○ National Standard:MU:Cr1.1.E.IIIa:Compose andimprovise musical ideasfor
a variety ofpurposesandcontexts.
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● “March-Bou-Shu”
○ Style/Genre: March
○ Historical Period: 21st Century
○ Culture: Japanese
○ National Standard:MU:Pr4.3.E.IIa:Demonstrate how understanding thestyle,
genre, andcontextof a variedrepertoireof music influences prepared and
improvisedperformancesas well as performers’technical skillto connect with
the audience.
Rationale for Selections and Skill Development:
● “Choose Joy”
○ When considering music selection for the first performance of the year, it is
important to consider that students have not been playing on a regular basis
throughout their summer break. So, the selections for this first performance serve
to aid students in re-acclimating with their instrumental technique and playing
ability. This piece, fairly new to the wind band repertoire, serves as an excellent
opener for the first concert. It offers students the opportunity to develop their
rhythmic ability, particularly when it comes to syncopation. This piece presents a
wide variety of syncopated melodic, harmonic, and percussive figures that would
allow students to advance their rhythmic technique. Additionally, with the
fast-paced sixteenth-note and eighth-note passages, students will be presented
with the opportunity to develop their ability to stabilize the pacing of these
rhythms.
● “Blue Ridge Rhapsody”
○ This piece was chosen to continue to familiarize students with harmony and form.
The primarily chordal harmonic structure of this piece is what gives it the
intensity and forward momentum within key moments throughout the piece. The
harmonic lines play an incredibly valuable role in the overall mood, texture, and
pacing of this piece, giving students the opportunity to strengthen their active
listening skills. Additionally, this piece was composed in a simple ternary (ABA)
form. Using this form, students can explore basic musical forms and begin to
develop an understanding of how this can have an effect on the music they are
performing.
● “Irish Tune from County Derry”
○ This beautifully impactful composition is a rendition of a folk song more
commonly known by the name “Oh Danny Boy.” Given that this piece is based
off of a tune many already know, the melody becomes an important factor in the
performance of this composition. Nearly all ensemble members have the
opportunity to play the melody at some point, which will allow them to better
tune their ear to the importance of this line. Grainger also allows students to
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e xplore the various timbres of their instruments, specifically at the more climactic
moments of the piece. The listener may hear bright, piercing sounds coming from
brass instruments in these impactful moments. Grainger also presents a wide
variety of dynamics (and lack thereof), allowing students to experiment with
musical expression throughout the composition.
“March-Bou-Shu”
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○ Many students do not have the opportunity to explore diverse musical cultures to
a vast extent. However, this piece will provide students with that incredible
opportunity. The textures presented throughout this piece are unique to the
Japanese culture, and throughout their performance, students will be able to
explore how the different musical elements are morphed together to create these
unique textures. While the piece maintains the typical form of a march, it is not
composed simply of a melody with a countermelody and a harmonic figure to
support. There are a wide variety of musical events occurring at the same time
throughout many moments in this piece.
Activities/Sample Lesson Plans:
● Activity
○ Students will complete a journal entry based on the song “Choose Joy.” They will
journal about what brings them joy in their daily lives and how they can use these
experiences to influence their performance of the piece, as well as the other pieces
on the program. The entry will be based on the following prompt:
■ Think about things that bring you joy in your own life, whether it be
people, places, pets, memories, hobbies, etc. Write at least a paragraph
about why this brings you joy. Then, reflect on these joyful experiences
and describe how this can influence your performance of “Choose Joy” by
Randall Standridge in another paragraph or more.
● Assessment
○ Tool: Rubric
○ Rationale:
■ Providing students with a rubric will help to outline the exact expectations
for this activity. Since this is the first performance cycle of the year and
students are working to get used to a routine again, this activity is not
meant to provide students with additional workload, but simply to
influence their performance of the music. This assessment serves to
provide students with a guide as to how they should format their journal
entry.
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Performance #2: Winter
Performance Selections:
● “Sparkling Lights” by Matt Conaway
● “Dreidel Dance” by Robert Thurston
● “Greensleeves” arr. by Alfred Reed
● “A Holiday Celebration” by Larry MacTaggart
Skills/Elements Addressed:
● “Sparkling Lights”
○ Rhythm and Harmony
● “Dreidel Dance”
○ Texture and Timbre
● “Greensleeves”
○ Form and Musical Expression
● “A Holiday Celebration”
○ Melody
Styles/Genres, Historical Periods, Cultures, and National Standards Addressed:
● “Sparkling Lights”
○ Style/Genre: Fanfare
○ Historical Period: 21st Century
○ Culture: American
○ National Standard:MU:Pr5.3.E.IIa:Develop and apply appropriate rehearsal
strategies to address individual andensemblechallenges in a variedrepertoireof
music, and evaluate their success.
● “Dreidel Dance”
○ Style/Genre: Theme and Variations
○ Historical Period: 21st Century
○ Culture: Traditional Judaism
○ National Standard:MU:Cn11.0.T.IIa:Demonstrate understanding of
relationships between music and the other arts, other disciplines, varied contexts,
and daily life.
● “Greensleeves”
○ Style/Genre: Secular Chorale
○ Historical Period: 14th Century
○ Culture: English
○ National Standard:MU:Re8.1.E.IIa:Supportinterpretationsof theexpressive
intentand meaning ofmusical works,citing as evidence the treatment of the
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e lements of music,contexts, (when appropriate) thesetting of the text, and
varied researched sources.
“A Holiday Celebration”
●
○ Style/Genre: Medley
○ Historical Period: 21st Century
○ Culture: American
○ National Standard:MU:Pr4.2.E.IIa:Document and demonstrate, using music
reading skills where appropriate, howcompositional devicesemployed and
theoreticalandstructuralaspects of musical works may impact and inform
prepared and improvisedperformances.
Rationale for Selections and Skill Development:
● “Sparkling Lights”
○ This piece serves as a fanfare on a commonly known Christmas song - “O
Christmas Tree.” Throughout this piece, there are many opportunities to advance
skills in rhythm in harmony. First, the rhythm of this composition varies from the
rhythms most commonly associate with “O Christmas Tree.” Because of this,
students with melodic lines will have to pay special attention to the syncopated
rhythmic motifs in order to be successful while performing this piece. Harmony
works hand-in-hand with the rhythm presented, as these syncopated figures are
often associated with the harmonic lines. Additionally, much of the harmony
provides rhythmic passages from the melody, encouraging students to engage
further with active listening in order to successfully line these passages up. The
rhythm in the harmonic lines offer a sense of forward momentum toward the
finale of the piece.
● “Dreidel Dance”
○ “Dreidel Dance” is a beautifully energetic celebration of Jewish culture,
incorporating two common songs from Judaism - “The Dreidel Song” and “Hava
Nagila.” Many of the compositional techniques incorporated in this piece root in
cultures associated with traditional Judaism, presenting challenging textures and
timbres for students who are not familiar with this style of music. The piece offers
a wide variety of textures, with melodies being passed around from
measure-to-measure, interjected harmony figures to break up the melody, and
multiple musical ideas occurring simultaneously. This will allow students to
develop a stronger sense of pulse and individual musicianship, as many
instruments are playing different parts at the same time. Additionally, the
composer incorporates unique timbres from a variety of instruments. Students will
have the opportunity to develop extended techniques and explore the variety of
timbres their instrument can produce throughout various dynamic ranges.
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● “Greensleeves”
○ Alfred Reed’s arrangement of Greensleeves provides a unique musical experience
for all members of the ensemble. Students will be provided the opportunity to
engage in conversations about form and musical expression. With soloist and
section presentations of the melody, students will be able to develop individual
and ensemble expression on a deeper basis, gaining a deeper understanding of
balance and blend within musical expression. This piece presents many instances
where students are able to experiment with their musical expression and
understanding of the piece. Additionally, as it is composed in a simple binary
(AB) form, students will have the opportunity to further their knowledge of basic
musical forms and begin to draw connections between a multitude of simple
forms.
● “A Holiday Celebration”
○ This piece is a medley of several well-known holiday pieces. Since it is a medley
of pieces students will likely already be familiar with, it provides them with the
opportunity to develop a better understanding of melody and how melodic figures
are passed around. Nearly all instrument sections have an opportunity to play the
melody at some point throughout this composition, which will allow them to
explore melodic musicality and passing these figures to other sections. The
composition also has rapid style changes throughout the presentation of the
various melodies, which will strengthen students’ abilities to switch styles and
become more mature musicians.
Activities/Sample Lesson Plans:
● Activity
○ Make Your Own Dreidel
■ Students will construct their own dreidel and decorate it to symbolize the
traditions of Hanukkah, based on the content covered in class and personal
research. This can be done in cooperation with the art teacher to provide
necessary supplies and aid in the construction of the dreidels. Aside from
the material they have been presented in class, students will also conduct
their own research on Jewish culture and traditions of Hanukkah to
complete this activity.
○ Exit Ticket
■ Students will complete an exit ticket to demonstrate their knowledge of
Hanukkah traditions to begin the Dreidel activity. Students will be asked
to write down three facts about Hanukkah traditions based on the material
covered in class that day.
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● Assessment
○ Tool: Rubric
○ Rationale:
■ Students will receive a rubric prior to beginning the construction of their
dreidels. This is to give them a reminder of the expectations for
completing this activity. This rubric can act as a guide for students to
showcase what the expectations are in order to receive full points, and it
will be a helpful tool to give students written instructions and reminders.
○ Tool: Checklist
○ Rationale:
■ As students complete their exit tickets, the teacher will complete a
checklist for each student to ensure they are meeting the requirements,
which is to write down at least three facts about the traditions of
Hanukkah based on the material covered in class. This checklist will serve
to see if students are completing the objectives, as well as to give students
a written list of what they are to accomplish.
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Performance #3: Festival
Performance Selections:
● “Declaration Overture” by Claude T. Smith
● “English Folksong Suite” by Ralph Vaughan Williams
● “Albanian Dance” by Shelley Hanson
Skills/Elements Addressed:
● “Declaration Overture”
○ Melody and Texture
● “English Folksong Suite”
○ Harmony, Form, and Musical Expression
● “Albanian Dance”
○ Rhythm and Timbre
Styles/Genres, Historical Periods, Cultures, and National Standards Addressed:
● “Declaration Overture”
○ Style/Genre: Overture
○ Historical Period: 20th Century
○ Culture: American
○ National Standard:MU:Pr4.2.E.IIa:Document and demonstrate, using music
reading skills where appropriate, howcompositionaldevicesemployed and
theoreticalandstructuralaspects ofmusical worksmay impact and inform
prepared and improvisedperformances.
● “English Folksong Suite”
○ Style/Genre: Suite
○ Historical Period: 20th Century
○ Culture: English
○ National Standard:MU:Re9.1.E.IIa:Evaluate works andperformancesbased
on research as well aspersonally-andcollaboratively-developed criteria,
includinganalysisandinterpretationof thestructureandcontext.
● “Albanian Dance”
○ Style/Genre: Dance
○ Historical Period: 21st Century
○ Culture: Eastern European (Albanian)
○ National Standard:MU:Pr6.1.E.IIa:Demonstrate mastery of the technical
demands and an understanding ofexpressive qualitiesof the music in prepared
and improvisedperformancesof a variedrepertoirerepresenting diverse
cultures,styles,genres, andhistorical periods.
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Rationale for Song Selection and Skill Development:
● “Declaration Overture”
○ With a variety of styles, tempos, and melodic presentations, this piece serves as an
excellent and exciting opener for a festival performance. Students will have the
opportunity to show off their ability to play in various styles while maintaining a
consistent pulse and quality tone. This piece also has a melodic theme that is
heard throughout the piece, stated in various ways. In the introduction, we hear
the statement of this theme, and as the piece is presented, this melody stays
consistent, with changes in texture. All members of the ensemble have the
opportunity to play this recurring melody at some point throughout the piece,
allowing them to strengthen their ability to pass of repeating melodic figures.
Additionally, the textures vary greatly throughout this overture. The supporting
lines offer a wide variety of textures that change the presentation of the piece as it
develops. Students will advance their ability to play in various styles to
effectively present these textures.
● “English Folksong Suite”
○ This piece is a three-movement suite that is based on a variety of English
folksongs. This is a great piece to showcase the students’ abilities at a festival, as
each movement presents a varying style. More specifically, it presents
opportunities for students to develop their knowledge of form, harmony, and
musical expression. Each of the three movements offers a different musical form
for students to analyze and become aware of. This presents them with the
opportunity to develop an understanding of how these varying forms combine to
form an effective composition. Additionally, within each movement are melodies,
countermelodies, and other harmonic lines. All instruments play one of these
figures at some point. Students will develop a stronger understanding of how
countermelodies are used to support melodic motifs, and how other harmonic
figures can in turn support both of these lines. The harmonies presented
throughout the three movements can be complex at times, which will allow
students to strengthen their active listening skills to develop an awareness of how
their part fits in with the ensemble. Finally, each movement also allows students
to explore the expressive qualities of the music. Within each phrase is extensive
capabilities for students to share their musical understanding through expression.
Repeated figures and chorales within each movement will give students an
opportunity to make these explorations throughout the composition.
● “Albanian Dance”
○ Rhythm and timbre come to the forefront of this composition, as the composer
uses rhythms and sounds that are unique to the Eastern European culture this
piece is derived from. The piece is composed in cut-time and has a distinctive
3+3+2 eighth note feel in the harmonic figures, which is a rhythm that is
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traditional of this dance culture. The combination of this time signature and these
rhythmic patterns may be difficult for students, but will allow in deep exploration
of the culture’s dance traditions in which this music is rooted in. Additionally, as
the piece develops, various instruments explore different timbres in the harmonic
lines, such as trombone glissandi and horn rips. While these, played at a
reasonable volume, do not necessarily create unique timbres, the dynamic level
and intensity in which the composer writes these figures allows for these
instruments to explore timbres of different qualities.
Activities/Sample Lesson Plans:
● Activity
○ Students will assess their peers on the quality of their performance, focusing on a
variety of musical concepts. As one person is playing, the other will fill out a
peer-assessment rubric to provide feedback for each other, and engage in a
conversation about what they are doing well and what can be improved.
● Assessment
○ Tool: Peer-Assessment Rubric
○ Rationale:
■ As this performance is for a festival, it is assumed that all students will
want to perform to the best of their ability. Receiving feedback from their
peers could be one of the most powerful tools when it comes to advancing
their musical technique. While they listen to the teacher give feedback
every day during rehearsal, it is likely not often that students give each
other feedback in a formal way such as this. Filling out a peer-assessment
rubric and engaging in a musical conversation about aspects of their
performance that were effective and others that need improvement can be
a very useful tool for students.
○ Tool: Checklist
○ Rationale:
■ After students fill out a peer-assessment rubric and provide feedback for
each other, the teacher will have a checklist to ensure participation from
all members of the ensemble. This checklist will serve as a participation
grade, to ensure everyone has completed the activity.
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Performance #4: Spring
Performance Selections:
● “Africa: Ceremony, Song, and Ritual” by Robert W. Smith
● “Little Fugue in G Minor” by J.S. Bach, arranged by L. Cailliet
● “An American Elegy” by Frank Ticheli
● “El Camino Real” by Alfred Reed
Skills/Elements Addressed:
● “Africa: Ceremony, Song, and Ritual”
○ Rhythm, Texture, and Timbre
● “Little Fugue in G Minor”
○ Melody and Form
● “An American Elegy”
○ Musical Expression
● “El Camino Real”
○ Harmony
Styles/Genres, Historical Periods, Cultures, and National Standards Addressed:
● “Africa: Ceremony, Song, and Ritual”
○ Style/Genre: Primitive Folk Music
○ Historical Period: 20th Century
○ Culture: African
○ National Standard:MU:Pr6.1.E.IIa:Demonstrate mastery of the technical
demands and an understanding ofexpressive qualitiesof the music in prepared
and improvisedperformancesof a variedrepertoirerepresenting diverse
cultures,styles,genres, andhistorical periods.
● “Little Fugue in G Minor”
○ Style/Genre: Fugue
○ Historical Period: Baroque
○ Culture: German
○ National Standard:MU:Re7.2.E.IIa:Explain how theanalysisofstructuresand
contextsinform the response to music
● “An American Elegy”
○ Style/Genre: Ballad
○ Historical Period: 21st Century
○ Culture: American
○ National Standard:MU:Pr6.1.E.IIb:Demonstrate an understanding ofintentas a
means for connecting with an audience through prepared and improvised
performances.
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● “El Camino Real”
○ Style/Genre: Spanish Dance
○ Historical Period: 20th Century
○ Culture: Spanish
○ National Standard:MU:Cn11.0.T.IIa: Demonstrate understanding of
relationships between music and the other arts, other disciplines, varied contexts,
and daily life.
Rationale for Song Selection and Skill Development:
● “Africa: Ceremony, Song, and Ritual”
○ This piece is one of the more challenging from the repertoire list for the year. It
has been intentionally chosen for the last performance cycle, as this is when
students will be most likely to perform it most effectively. While it is a longer
piece, divided up into three distinct sections, it serves as an exciting concert
opener with the fanfare-like beginning. This piece offers many musical skills and
elements for students to focus on, with rhythm, texture, and timbre being the three
main areas of focus. Many of the rhythms presented in this piece are typical of
primitive African folk music, particularly the motifs heard within the percussion.
Some of these are hemolias, which may be difficult in the context of this piece.
However, this presents students with the opportunity to study the context and
origins of these rhythms, and advance their rhythmic awareness. The textures
within this piece are also more complex, as a variety of rhythms, melodic figures,
and harmonies are being played simultaneously, creating various textures standard
of the African culture. There are sudden texture changes with drastic shifts in
dynamics and orchestration, making the piece exciting to perform and listen to.
Finally, timbres are also often changed suddenly and drastically in various
instruments. Percussion especially has the opportunity to explore the vast variety
of sound qualities their instruments can produce.
● “Little Fugue in G Minor”
○ This piece, originally composed by J.S. Bach, is a well-known fugue from the
Baroque era. Many students will likely not be familiar with the piece, but a
benefit of performing this piece is that, like any fugue, the melody is repeated
throughout the majority of the piece. After students hear the melody, it is easily
recognizable throughout the remainder of the composition. All instruments have
the opportunity to play the melody at some point throughout this piece, allowing
them to strengthen their active listening skills and the ability to carry the melody
and pass it off when necessary. This piece also presents students with the
opportunity to study fugal form. It is likely students will not be familiar with this
musical structure, and it is very different from the other pieces they have played
throughout these performances. So, by playing this piece, they will be able to
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ake connections between the format of fugues and other pieces, and deduct
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comparisons and contrasts to help better inform their musical decisions.
“An American Elegy”
●
○ While this piece is not incredibly technically difficult, it presents musical
challenges that will encourage students to become more mature musicians. This
piece balances the others on this program very nicely, as the others are more
technical in nature, and this one presents musically expressive dialogue between
the ensemble. The context of this piece allows itself to be moving in nature, but
the musical content presented also allows students to make meaningful musical
decisions. Students will be able to develop active listening as a functioning
member of the ensemble to make decisions about musical expressiveness based
on the compositional techniques and what they hear.
● “El Camino Real”
○ This piece uses chord progressions that are common to numerous generations of
Spanish flamenco guitarists. These unique harmonic progressions have long
captivated individuals throughout the world, and are what we now associate with
traditional Spanish music. Listening to this music is one thing, while
understanding the context of these harmonies within a composition is another.
Students will need to develop a deeper understanding of the context of these
harmonies to effectively perform this piece of music, as well as how these
harmonies are used to support important melodic figures.
Activities/Sample Lesson Plans:
● Activity
○ Students will study fugues and how they are constructed to compose their own
fugue using GarageBand. They will study “Fugue in G Minor” by J.S. Bach,
which is a piece being performed in this performance cycle, as well as other
well-known fugues, to help them gain a deeper understand of what gives fugues
their recognizable qualities. Then, they will use GarageBand to compose their
own short fugue that is at least one minute and 30 seconds in length.
● Assessment
○ Tool: Rubric
○ Rationale:
■ A rubric will be the best tool for the activity, because it clearly lays out all
expectations for the project. Using a rubric, students will have an
understanding of what is required of them to receive full points, and what
all guidelines and expectations are.
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