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SATIRIC DANCES FOR A COMEDY BY ARISTOPHANES FOR CONCERT BAND BY NORMAN DELLO JOIOThis portfolio contains the comprehensive score study, technical and performance suggestions, suggested recordings and related readings. Joseph Borell derived the information from the suggested resources. About Joseph Borell Born and raised in Warminster, Pennsylvania, Joseph is a Music Education major at the Penn State School of Music. Joseph is a tenor trombonist in the Penn State Marching Blue Band, Penn State Trombone Choir, Outer and Inner Dimensions Jazz Band, and the Penn State Symphonic Band.? He began learning the trombone in the Centennial School District.? In high school, Joseph was selected to participate in the PMEA District 11 Band Festival and the PMEA Region 6 Band Festival.? During high school, Joseph presented a graduation project in order to successfully graduate.? For his graduation project, Joseph conducted a Christmas concert?at the local retirement community, Ann's Choice, with a brass ensemble.? In the summer of 2009, Joseph organized a benefit concert for his friend, Eric Marinoff, in order to raise money for a commissioned piece of music for concert band.? Joseph had conducted a concert band along with other community ensembles.? Besides a life in State College, PA, Joseph also has a home in Warminster, PA with his two older brothers and parents. In the summer of 2014, Joseph will be relocating to Bedminster, PA in a newly built home. Goals for the Students: Through studying Satiric Dances for a Comedy by Aristophanes, students will be challenged musically and intellectually. One goal for the students is to expose them to contemporary wind band literature. The Satiric Dances uses 20th century compositional techniques such as the use of the octatonic scale, 5 bar phrases, and various forms. Students will also experience the idea behind neoclassicism. Norman Dello Joio uses a contemporary style while using elongated melodies that are expressive. Students will also be challenged through performance. This piece requires extended techniques in the woodwinds, brass, and percussion. However, the ultimate goal is to give the students a significant musical experience that they will cherish for years to come. About Norman Dello Joio Norman Dello Joio was born on January 24, 1913 in New York City. Dello Joio’s family immigrated from Italy to New York City before he was born. Dello Joio’s father was an organist, pianist, and a vocal coach for the Metropolitan Opera house. Dello Joio’s professional musical career began when he was fourteen years old. He was an organist and a choir director at the Star of the Sea Church on City Island. In1939, Dello Joio received a scholarship to the Juilliard School of Music, where he studied composition with Bernard Wagenaar. Upon graduating from Juilliard, he decided that he did not want to continue his musical career in a church choir loft. In 1941, Dello Joio began studying composition with Paul Hindemith. Hindemith influenced Dello Joio’s compositional style by giving some advice, “Your music is lyrical by nature, don’t ever forget that.” Dello Joio understood what Hindemith meant by his advice by stating, “Don’t sacrifice necessarily to a system, go to yourself, what you hear, if it’s valid, and it’s good, put it down in your mind. Don’t say I have to do this because the system tells me to. No, that’s a mistake.” Over Dello Joio’s lifetime, he composed forty-five choral works, thirty works for orchestra, ten for band, twenty-five for solo voice, twenty for chamber works, concertos for piano, flute, harp, a Concertante, for clarinet, a concertino for Harmonica, and a number of pedagogical piano pieces for both two and four hands. Dello Joio was also the professor at Sarah Lawrence College, the Mannes College of Music, and the Dean of Fine and Applied Arts for Boston University. From 1959 to 1973, Dello Joio directed a project called the Ford Foundation’s Contemporary Music Project in high schools. Students from Boston University were sent to high schools across the United States to write contemporary music for high school ensembles. Dello Joio died at the age of 95 and his music is still performed today. About Satiric Dances for a Comedy by Aristophanes Satiric Dances for a Comedy by Aristophanes was composed in 1975 for the town of Concord, Massachusetts. This composition was written for Concord’s commemoration of its Bicentennial. The Satiric Dances are represented through three movements, Allegro Pesante, Adagio Mesto, and Allegro Spumante. Aristophanes, the Father of Comedy, is known for the intensity of ridicule. Aristophanes feared by many philosophers such as Plato and Socrates. The dynamics and articulations of the music help represent the dance and satire of Aristophanes. Some of the melodies are also based upon Mediterranean folk songs as well. Conductor’s Score Study Information Technicalities of Instruments: I. Range: 1. PiccoloB4 to A6 2. FluteA4 to A6 3. OboeC4 to C5 4. BassoonBb1 to E3 5. Eb Sop. Clarinet G3 to Eb6 6. Bb Sop. Clarinet 1G#3 to Eb6 7. Bb Sop. Clarinet 2 E3 to D68. Bb Sop. Clarinet 3E3 to C69. Alto Clarinet D3 to Eb5 10. Bb Bass ClarinetE2 to E4 11. Eb Alto Saxophone 1F#3 to G5 12. Eb Alto Sacophone 2 F#3 to E5 13. Bb Tenor Saxophone E3 to F#4 14. Eb Baritone Saxophone D2 to Eb413. Bb Trumpet 1C4 to A5 14. Bb Trumpet 2 C4 to A5 15. Bb Trumpet 3Ab3 to F#5 16. F Horn 1 G#3 to C5 17. F Horn 2 G3 to C5 18. F Horn 3 A3 to C5 19. F Horn 4 F3 to C5 20. Trombone 1F3 to F#4 21. Trombone 2 B2 to E4 22. Trombone 3 B2 to Bb3 23. Bass TromboneE2 to C4 24. Baritone B.C. G2 to F#4 25. Tuba G1 to F3 Percussion needed:Finger Cymbals, Cymbal, Tambourine, 5 playersGlockenspiel, Chimes, Xylophone, Snare Drum, Bass Drum, Bongos, Wood Block, and Timpani. II. Challenges in Performance: In Movement I, trumpets and saxophones must be able to execute sixteenth-note passages on a C octatonic scale. In Movement I, a unison melody in four octaves between the piccolo, flute, oboe, bassoon, and trumpet needs to be perfect with students knowing the natural tendencies of their instruments. In Movement I, making sure that trumpet 1 plays the high range with a relaxed tone and not too heavy. In Movement II, subdivision of the sixteenth note in the introduction in the flute, oboe, and clarinet. In Movement II, making sure all instruments that have leaps greater than a fifth are smooth and clean. In Movement II, making sure that the melody is expressive with proper phrasing and no breaks of sound in between phrases. In Movement III, the glissandi in octaves in the horns and trombones are rhythmically precise and controlled. In Movement III, double tonguing in the flute and horns. All Movements, treating the articulations carefully, making sure that the movement represents a dance. All Movements, dynamics are controlled and taken literally. The dynamics help make the movements satiric. All Movements, students knowing their role within the music. III. Difficult Passages: In Movement I, all trumpets have same passage in unison. Making sure that it is rhythmically precise and controlled with a clear attack on the first note. In Movement I, French horns take over trumpet unison passage at measure 29. Make sure horns are playing the passage the same as the trumpets when they introduced it in the beginning. In Movement II, clarinet solo is smooth and expressive. In Movement II measure 28, trombone articulations are legato with a tenuto articulation. In Movement III, make sure each hit on the bongos is even with the appropriate dynamics. In Movement III measure 11, all saxophones must be clear on their articulations upon executing the sixteenth notes. In Movement III measure 14, tubas and trombone establish the “rhythmic motor” for the movement using an appropriate tempo. In Movement III measure 10, the xylophonist must have even strokes when ascending in the passage. In Movement III measure 56, all trumpets are doubled with the piccolo, flutes, and clarinets when playing the melody. In Movement III measure 59, French horns pass a sixteenth note figure between the 1st and 3rd part and the 2nd and 4th part. IV. Suggested Instrumentation: Based upon score study, Satiric Dances for a Comedy by Aristophanes by Norman Dello Joio can be performed with one player per part. However, I would suggest for younger ensembles to double certain parts. Flutes and clarinet parts can be doubled, especially on the lower parts to bring more color to the music. All trumpet parts could be doubled due the range and number of difficult passages. For younger players, the endurance and stamina may not be developed to play these parts. Tenor trombones could also be double to add more color to the ensemble. The bassoon could also be doubled as well. V. Key Centers/Modalities (in concert pitch): 1. C Major 2. Ab minor 3. C minor 4. G Major 5. Uses of the C Octatonic Scale 6. Chromatic Harmonies VI. Meters: 4/4 3/4 VII. Tempo Indicators: In Movement I: Allegro Pesante, quarter note = 116In Movement I: Allegro Pesante “Piu Mosso”, quarter note = 126In Movement II: Adagio Mesto, quarter note =58In Movement III: Allegro Spumante, quarter note =132VIII. Dynamic Range Requirements: ppp to ffIX. Soloists Required: Clarinet Bassoon Oboe FluteAdditional Considerations: Be aware of the balance and color of the ensemble based upon the orchestration of the music. Be aware of the amount of musical independence between parts in the ensemble. Suggested Recordings: Fantasies on a Theme by Haydn by Norman Dello Joio Variants on a Medieval Tune by Norman Dello Joio Scenes from the Louvre by Norman Dello Joio From Every Horizon by Norman Dello Joio Aria and Toccata by Norman Dello Joio Sonata for Piano by Norman Dello JoioSuite for Piano by Norman Dello Joio City Profiles by Norman Dello Joio Meditations and Ecclesciates by Norman Dello Joio Satiric Dances for a Comedy by Aristophanes by Norman Dello Joio performed by the Rutgers Wind Ensemble. Most of these recordings can be found on Spotify, Youtube, Itunes, and CDs. Resource: 1. Spittal, Robert. “Teaching Music through Performance in Band Volume 2.” GIA publications, Inc., Chicago, IL, copyright 1998. 29 October 2013. Learning GoalsStudents will be able to recognize the melody and accompaniment by performing Satiric Dances for a Comedy by Aristophanes by Norman Dello Joio in tune and with correct rhythms. Students will be able to understand and perform irregular phrases through performing Satiric Dances for a Comedy by Aristophanes by Norman Dello Joio. Students will able to understand the musical terminology used in Satiric Dances for a Comedy by Aristophanes by Norman Dello Joio. Students will be able to understand and perform an octatonic scale by performing Satiric Dances for a Comedy by Aristophanes in tune and with correct rhythms. Student will be able to perform Satiric Dances for a Comedy by Aristophanes with the appropriate style, correct rhythms, and in tune. Name:________________________________________________Date:_________________Musical Terminology WorksheetInstructions: Write the definition of each musical term. Then write a synonym or analogy that is associated with the musical term.Allegro: Pesante: Piu Mosso: Adagio: Adagio: Mesto: Expressivo: Sentito: Cantando: Cantando molto con calore: Tutti: Spumante: Octatonic Composition Exercise Part I: Write all twelve octatonic scales on a piece of manuscript paper or on notation software for your instrument. Remember, an octatonic scale is a scale that alternates intervals of whole and half steps.Example: 10287006159500Part II: Write a short 8 bar melody utilizing the octatonic scale for your instrument. Then on this date, _______________________, we will perform our 8 bar phrases for the class. Make sure you pick a scale in a range that is most comfortable for you to perform. Part III: After listening to all of the compositions written by your peers, write a brief paragraph on a melody that stuck out to you. In addition, write a reflection on your melody and performance. This should also be a brief paragraph. Proper grammar will be factored into your grade. This will be due on _______________________. Listening QuizzesInstructions: The listening exam will be another band rehearsal. Each student will have a piece of paper on their stand. Questions will be asked by the band director. Questions:Part I In Movement I, who has the melody in the beginning of the piece? In Movement I, who has the melody the first time at measure 15? In Movement I, what instrument joins the melody at measure 15? In Movement I, what instruments are in unison during the recapitulation? Part IIIn Movement II, what instruments have accompaniment during the clarinet solo? In Movement II, where does the A theme begin? In Movement II, what measure is the texture of the movement the thickest? In Movement II, what instruments have the melody towards the end of the movement? Part IIIIn Movement III, what instrument begins the movement and establishes the sixteenth subdivision? In Movement III, measure five, write the rhythm (counting numbers) of the woodwinds. In Movement III, measure fifteen, who has the melody? In Movement III, measure forty-five, who begins the B section? Name:________________________________________Date:_____________________Musical Terminology Fluency Quiz #1Directions: You will be given TEN minutes to identify or write the antonym to the musical term. Remember, you will be given two more attempts to achieve a 80% or above. Good luck and have fun! Identify the following: Adagio___________Slowly________________ Mesto___________Sad/Sorrow__________Expressivo___________Expressive____________Spumante _________Sparkling________________Cantando molto con calore ____Warm singing with motion _Sentito _________Felt___________________Write the antonym for the following terms: Allegro ___________Slow__________________Piu Mosso___________Less Motion___________Tutti ___________Nobody________________Cantando___________No singing/mute______Pesante___________Light__________________Performance Exam Rubric Each student will be asked to perform selections from the concert program. There are six components that each student will be graded on. Each component is worth 20 points. Every performance will be recorded and given to the student to reflect upon. Rhythm: 20 points- Students perform 100% of the rhythms accurately with a constant internal pulse. 15 points- Students perform 90% of the rhythms accurately with a constant internal pulse. 10 points- Students perform 85% of the rhythms accurately with an inconsistent internal pulse. 5 points- Students perform 80% of the rhythms accurately with an inconsistent internal pulse. 0 points- Students perform rhythms that are inaccurate and with an inconsistent internal pulse. Tone Quality: 20 points- The tone is clear and consistent 100% of the time. 15 points- The tone is clear and consistent 90% of the time. 10 points- The tone is clear and consistent 85% of the time. 5 points- The tone is clear and consistent 80% of the time. 0 points- The tone is not clear and inconsistent for most of the time. Intonation: 20 points- Pitches are clear and in tune 100% of the time. 15 points- Pitches are clear and in tune 90% of the time. 10 points- Pitches are clear and in tune 85% of the time. 5 points- Pitches are clear and in tune 80% of the time. 0 points- Pitches are unclear and out of tune for most of the time. Technique: 20 points- Extended techniques and fundamental skills are consistent 100% of the time. 15 points- Extended techniques and fundamental skills are consistent 90% of the time. 10 points- Extended techniques and fundamental skills are consistent 85% of the time. 5 points- Extended techniques and fundamental skills are consistent 80% of the time. 0 points- Extended techniques and fundamental skills are inconsistent. Style: 10 points- Phrasing and style are appropriate for the music. Self-Reflection: 10 points-After listening to the recording and reading the comments provided by the band director, write a one page self-reflection on your performance. How did you feel about your performance? What did you do well and what did you not do well? What techniques do you need to improve upon on your instrument? What goals do you have for yourself to improve on your instrument? Performance Exam Score and Comment SheetRhythm: Score:________________2. Tone Quality: Score:_________________3. Intonation: Score:__________________4. Technique: Score:__________________5. Style: Score:___________________Additional Comments: ................
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