With Quiet Courage – Larry Daehn



Comprehensive Musicianship Unit

060 251

Band/Jazz Methods

Dr. McCallum

With Quiet Courage

Composed by: Larry Daehn

Published by: Daehn Publications

Developed by: Meagan Lawson

Table of Contents

Discography

3 - 6

Historical Notes

7 – 9

The Composer

10

Historical Style Period

10

Interpretive Aspects

11 - 17

Performance Aspects

17

Concepts, Sub-concepts and Objectives

18 - 19

Glossary of Musical Terms

20

Musical Terms from The Score

21

Activities for Teaching Comprehensive Musicianship and Assessment

22 - 28

References

29 - 30

Discography:

1. With Quiet Courage

Available from: Teaching Music Through Performance in Band - Volume 2 – Disk 3

GIA Publications

Conductor: Eugene Corporon

North Texas Wind Symphony

2. With Quiet Courage

Available from: Band Music of Distinction, Volume 1.

New Glarus, WI. Daehn Publications

The Indiana University of Pennsylvania Wind Ensemble

Jack Stamp – Conductor

Different Interpretation of the work.

3. With Quiet Courage

Various recordings found at:

1.Recommended Recording:

Conductor: Eugene Corporon

North Texas Wind Symphony – Date Unknown

Different Interpretations of the work.

4. As Summer Was Just Beginning

Larry Daehn

Available from: Teaching Music Through Performance in Band - Volume 1 – Grade 2 Disk 1

GIA Publications

Conductor: Eugene Corporon

North Texas Wind Symphony

Written in memory of James Dean. A similar style piece also written in memory of someone.

5. On a Hymnsong of Philip Bliss

David Holsinger

1. Found Online at -

2. Available from: Teaching Music Through Performance in Band – Volume 1 – Grade 3 Disk 3

GIA Publications

Conductor: Eugene Corporon

North Texas Wind Symphony

Written to honor the retiring Principal of Shady Grove Christian Academy. Similar style to With Quiet Courage.

6. Walking Tune

Percy Grainger

Percy Grainger: Famous Folk-Settings Cd

Collect Series - CHANDOS

Conductor: Kenneth Montgomery

Bournemouth Sinfonietta

Daehn studied the compositional techniques of Percy Grainger and some of the techniques that Daehn uses are evident in this piece.

7. Elegy for a Young American

Ronald Lo Presti

1. Teaching Music Through Performance in Band – Volume 2 – Grade 4 – Disk 1

GIA Publications

Conductor: Eugene Corporon

North Texas Wind Symphony

Written in 1964 in Memory of former President John F. Kennedy.

Slow, Contemplative and Reflective – Similar style

8. An American Elegy

Frank Ticheli

1. Found on Publisher’s Website:

2. Teaching Music Through Performance in Band – Volume 4 – Grade 4 – Disk 1

GIA Publications

Conductor: Eugene Corporon

North Texas Wind Symphony

Composed in memory of those who lost their lives at Columbine High School. Similar style and challenges.

9. Alleluia

Randall Thompson, arranged by Lewis Buckley

Choral piece arranged for band.

1. Cantorum of Oxford – Randall Thompson - CD

2. Found online: - choral and band recordings

Recommend Recording:

Conductor: Lewis Buckley

U.S. Coast Guard Band – Date: Unknown

Inspired by the war in Europe and Fall of France in 1940 – what emotions and themes are present that are also found in With Quiet Courage?

10. Salvation is Created

Pavel Tschesnokoff, Houseknecht

Teaching Music Through Performance in Band – Volume 4 – Grade 3 – Disk 4

GIA Publications

Conductor: Eugene Corporon

North Texas Wind Symphony

Written as an anthem for the church that could not be played until years later when Communism fell. Similar writing style and themes evident.

11. Song For Friends

Larry Daehn

1. Teaching Music Through Performance in Beginning Band – Volume 1 – Disk 3

GIA Publications

Conductor: Thomas Dvorak

University of Wisconsin–Milwaukee Wind Ensemble

Another piece written by Larry Daehn, that has some of the same writing style and techniques.

12. In Heaven’s Air

Samuel Hazo

1. Teaching Music Through Performance in Band – Volume 5 – Grade 2 – Disk 1

GIA Publications

Conductor: Eugene Corporon

North Texas Wind Symphony

The piece was commissioned by and dedicated to Dr. Robert Cameron, whose mother also passed away. The death of his mother was accidental and the piece was composed to help with the healing process.

13. Three London Miniatures 2. For England’s Rose

Mark Camphouse

1.Teaching Music Through Performance in Band – Volume 3 – Grade 4 – Disk 3

GIA Publications

Conductor: Eugene Corporon

North Texas Wind Symphony

The second movement of this piece was written and dedicated to Princess Diana after her death. The piece has a similar writing style and contains many of the same themes.

14. British Isles Suite

Larry Daehn

1. Teaching Music Through Performance in Band – Volume 4 – Grade 2 - Disk 1

GIA Publications

Conductor: Eugene Corporon

North Texas Wind Symphony

Written around the same time as With Quiet Courage.

Another work written around the same time as With Quiet Courage.

15. Renaissance Trilogy

Larry Daehn

1. Band Music of Distinction - Volume 2

Daehn Publications

Conductor: Jack Stamp

Pennsylvania Wind Ensemble

Another work written around the same time as With Quiet Courage.

Historical Notes:

Lois Daehn

Her life was heroic, but without fanfare.

She worked and hoped and inspired.

She loved and was loved.

Her life was a noble song of quiet courage.[1]

The piece With Quiet Courage was written in memory of the composer’s mother, Lois Daehn. Lois inspired many people because of her kindness, strength, and grace. She grew up poorly during the Depression and did not have an easy life. In her mid-life she had many health problems. She lost both her legs and her eyesight to diabetes but she wanted pity from no one. She was more concerned about the misfortunes that may worry those around her.

Larry Daehn speaks about his mother by saying, “There is not a day that I don’t think of her, and other tell me that they also remember her often. She inspired many of us. Whenever we face great obstacles, we think of the courage and determination of Lois Daehn, and we know that we can go on and face just about anything, because she did; because she courageously lived her life and faced her death with quiet courage.”

When discussing the piece Daehn states, “I tried to make the music like her; simple, with strength, nobility, and beauty”.[2]

Lois Daehn loved to sing. Singing-like qualities are very evident throughout the composition. The piece builds from a quiet pianissimo to the strength of fortissimo, and concludes with gentle chords symbolizing open Wisconsin farmland and a full rewarding life. With Quiet Courage was premiered by the U.S. Navy Band in the American Capital in 1995.[3] I am unable to find the event that the piece was premiered at.

U.S. Navy Band

The United States Navy Band is the premier musical organization of the U.S. Navy. Comprised of six primary performing groups as well as a host of smaller ensembles, "The World's Finest" is capable of playing any style of music in any setting.

Since its beginning in 1925, the Navy Band has been entertaining audiences and supporting the Navy with some of the best musicians in the country. From national concert tours to presidential inaugurals to memorial services at Arlington National Cemetery, the Navy Band proudly represents the men and women of the largest, most versatile, and capable naval force: America's Navy.

One hundred seventy enlisted musicians, recruited from the finest music schools and professional musical organizations, perform over 270 public concerts and 1,300 ceremonies each year. In addition to their demanding performance and rehearsal schedules, band members are responsible for the daily administration of the organization, including operations, public affairs, a large music library, information systems and supply. As the Navy's musical ambassadors, band members maintain the highest standards of appearance, military bearing and physical fitness.

The Navy Band is dedicated to the education of younger musicians. The Music in the Schools program features band members presenting clinics, master classes and recitals at local schools. Every spring, the Concert Band hosts their annual High School Concerto Competition. Finally, the band's International Saxophone Symposium, entering its 34th consecutive year, proudly boasts one of the largest audiences in the U.S. for an event of its kind.

The United States Navy Band, nationally and internationally, stands for musical and military excellence. Whether performing at Carnegie Hall, the White House or a rural civic auditorium; sharing the stage with Ernest Borgnine, Itzhak Perlman, Branford Marsalis or Vince Gill; or appearing on television programs like the Today Show, Meet the Press, and Good Morning America and in films like Clear and Present Danger, the United States Navy Band is constantly reaffirming why they are "The World's Finest."

Mission

The United States Navy Band's mission is to provide musical support to the President of the United States, the Department of the Navy, and other senior military and government officials. Through ceremonies, national tours, public concerts, and recordings, the United States Navy Band inspires patriotism, elevates esprit de corps, enhances Navy awareness and public relations, supports recruiting and retention efforts, preserves our nation's musical heritage, and projects a positive Navy image at home and abroad.[4]

Quiet

–adjective

1. making no noise or sound, esp. no disturbing sound: quiet neighbors.

2. free, or comparatively free, from noise: a quiet street.

3. silent: Be quiet!

4. restrained in speech, manner, etc.; saying little: a quiet person.

5. free from disturbance or tumult; tranquil; peaceful: a quiet life.

6. being at rest.

7. refraining or free from activity, esp. busy or vigorous activity: a quiet Sunday afternoon.

8. making no disturbance or trouble; not turbulent; peaceable: The factions remained quiet for twenty years.

9. motionless or moving very gently: quiet waters.

10. free from disturbing thoughts, emotions, etc.; mentally peaceful: a quiet conscience.

11. said, expressed, done, etc., in a restrained or unobtrusive way: a quiet reproach; a quiet admonition.

12. not showy or obtrusive; subdued: quiet colors.

13. not busy or active: The stock market was quiet last week.[5]

Courage

–noun

1.

the quality of mind or spirit that enables a person to face difficulty, danger, pain, etc., without fear; bravery.

2.

Obsolete . the heart as the source of emotion.

—Idiom

3.

have the courage of one's convictions, to act in accordance with one's beliefs, esp. in spite of criticism.[6]

Which of these definitions can be associated with the piece With Quiet Courage?

Composer

Larry Daehn was born in Rosendale, Wisconsin in 1939. He grew up on a farm in Wisconsin and went to the University of Wisconsin at Oshkosh. He received his B.A. in Music Education in 1964 and his Masters degree in 1976 at the University of Wisconsin at Platteville.

Daehn has been teaching music for over thirty three years, most of that time being spent at New Glarus High School. He has been the president of the Wisconsin Phi Beta Mu, and has also been given the title of Outstanding Bandmaster by that organization.

Larry Daehn has done considerable research on the life and music of Percy Grainger. He traved to Melbourne to study at the Grainger Museum. Larry admired Percy greatly, and has written several arrangements of his melodies and an article based on the museum at which he studied.[7]

Some of Daehn’s other works include British Isles Suite, Country Wildflowers, Nottingham’s Castle, and A Song for Friends. His works’ range in difficulty from about Grade 1 (Very Easy) to Grade 3 (Moderately Difficult). Most of Daehn’s works are in a lyrical style that are based on British folk tune melodies.

Larry Daehn also owns his own publication company, Daehn Publications. All of his pieces are published through his own company.[8]

Historical Style Period

With Quiet Courage, a contemporary piece composed in 1995, is one of the many pieces by Larry Daehn written or arranged for concert band. Because Daehn studied Grainger’s work so extensively, some writing techniques from Grainger’s pieces are evident in Daehn’s work. Similarities in writing style, melody and countermelody formation, and dissonance from Grainger’s I’m Seventeen Come Sunday, Themes from “Green Bushes”, and Walking Tune are seen in Daehn’s With Quiet Courage. Two other works written around the same time by Daehn include As Summer Was Just Beginning and Renaissance Trilogy.[9]

Interpretive Aspects

Meaning of the Work

The piece, With Quiet Courage is not the most technically difficult piece most ensembles will play. Playing this piece is very valuable because of what the piece means, represents, the emotions it portrays, and the memories that are attached to it.

The piece was written with a very clear purpose, to honor and remember the composer’s mother. Students should understand that music is an outlet to portray feelings, emotions, and memories and it can be used very effectively to represent these things. The composer wrote each section of the piece to portray something different and it is important to figure out as an ensemble, what you believe each section represents.

Each student brings to the ensemble a different background made up of unique experiences. The sections of the piece will represent different feelings and emotions for each student. It is important for students to relate the piece to their own individual experiences and background to create meaning, appreciation, and value for the piece.

Students need to realize that music is written for many different purposes. The piece With Quiet Courage, has a strong purpose and it needs to be played in a way that reflects the purpose in which it was written.

Melody

The melody in With Quiet Courage is major in tonality and begins in Concert D Flat Major. At the climax of the piece (mm. 49) the key changes to Concert B Flat Major and remains in this tonality until the end.

❖ Contrary Motion

- Musical motion of at least two voices, one of which is in the opposite direction of the other. One voice rising in pitch while another voice falls in pitch.[10]

Ex. MM. 25 – 29

- Upper woodwinds line falls and then rises and repeats

- Lower woodwinds line rises and falls

- Must achieve a balance and blend between these parts

Ex. MM. 55 – end

- Contrary motion present in this section again, higher voices vs. lower voices.

- Listen for balance of both parts and tension on the notes held under the fermata.

❖ Counter Melodies

- Underneath the melody at measures 33 and 49 there are two countermelodies that provide interest and variety. The first countermelody is written in the Clarinet, 1st Alto Sax, 1st Horn, and 2nd Trumpet parts. The second countermelody that needs to soar up close to the melody is in the 2nd Alto Sax, 2nd Horn, and Baritone parts.[11]

- These countermelodies need to be prominent throughout the sections at 33 and 49 because they are something the listener has not heard before. Each line needs to be shaped and phrased according to its contour and how it relates to the other lines being played simultaneously. The melody will continue to be heard throughout this section as it is voiced higher in the woodwinds than previously.

❖ Phrasing

- There are not a lot of dynamics or shaping written into the parts of the piece so it is important to decide as an ensemble how the phrases will be shaped.

- The piece is made up of smaller 4 measure phrases under larger phrases throughout the form.

- An idea for phrasing – Crescendo the first two measure of each four measure phrase and decrescendo the last two measures.

- Introduce stagger breathing (if one hasn’t already) and make sure students don’t breathe in places that break up each phrase.

- Decide as a class how each melody and countermelody should be shaped and use each idea throughout the entire piece.

❖ Releases

- Releases are just as important as the way we start each note.

- Each note should be held for full value and released in time. The note at the end of each phrase should be held until the next phrase starts.

- Notes should be released with an open and lifted sound, not being cut off or stopped abruptly out of the context of the piece.

- Particular attention needs to be paid to the releases in the last 6 measures during the ritardando. After each fermata, the release as prep style should be used by the director to allow the players to release at the same time, without leaving too much space before the next pick-up.

Harmony

The harmony of the piece With Quiet Courage is relatively simple, but provides a solid support for the melody. The piece starts in Concert D Flat Major, and the last ten measures finish the piece off in Concert B Flat Major. The basic harmony is kept fairly simple because of the melody and countermelodies that are meant to flow overtop. Suspensions create tension in the harmony to help portray the unease and unrest within the piece, but are quickly resolved to symbolize strength, grace, and letting go. The piece also has significance in the keys it begins and end in. D Flat Major is not a commonly used key in junior high or high school repertoire, however, the piece modulates to B Flat major which is considered a home key for band repertoire. The keys this piece is based around symbolize moving from the unknown to the known, the feeling of unrest and uncertainty to a sense of calm and peace, and a sense of courage into grace. This modulation up a major sixth to the home key possibly represents the journey up to heaven.

❖ Suspensions (Tension – Release)

- Suspensions are found throughout the work, providing opportunities to study musical tension and release.[12]

Ex. Measure 8 – tension on beat 2-3 release on beat 4

Ex. Measures 25-28 tension and release in A. Sax and Horn parts against upper woodwind parts.

Ex. Measures 56 & 57 - Tension on the fermatas – released in next measure.

Rhythm

Within the melody and counter melodies there are a large number of dotted rhythms, as shown below.

Dotted Quarter Eighth Dotted Eighth Sixteenth

[pic] [pic]

The accuracy of these rhythms must be precise and consistent through all the parts where it is present. The dotted eighth note figures must be played tenuto to fit the style of the piece and never rushed.[13]

The rhythm shown below is found within the first phrase of the piece in the harmony part. It is modified slightly in a couple of different ways (as shown below) and is used throughout the harmony, melody, and countermelodies throughout the piece.

[pic]

1. 2.

[pic] [pic]

3. 4.

[pic] [pic]

Syncopation

There are also various syncopated rhythms within the bass line and harmony parts that need to be brought out. These rhythms are shown below.

Measure 5 - 6

[pic] - 3rd Clarinet and 1st and 2nd Trombone

Measure 42

[pic]- Clar. 3, A. Sax 1and 2, T. Sax, Hn.1

Measure 44

[pic]- Clar. 3, A. Sax 1and 2, T. Sax.

Measure 46

[pic]- Bassoon, A. Sax 2, T. Sax, Hn. 2, Tpt. 2, Trb. 1 and 2.

Rhythmic Considerations

All of the rhythms within the piece should be rhythms that students have seen before. One of the challenges of the piece will be keeping the pulse steady at the slow tempo of the piece. Every member of the ensemble must be aware of the tempo so the piece does not rush or slow down. The dotted rhythms will be tricky to keep together at the slow tempo. Every student will need to be responsible for internal pulse and subdividing in their head. At the same time, it will be important to not rush the dotted rhythms propelling the piece forward.

At the very least there are three different rhythmic lines being played at the same time. Another challenge is to keep all of these rhythms independent. Each instrument grouping must be conscious of their own part and not follow the part of another instrument group. At other times there are five or six rhythmic lines at the same time so keeping the vertical rhythms lined up within the same pulse could be difficult.

In the last six measures of the piece there is a gradual ritardando that must be lead by the conductor. The third and second last measures have eighth note rhythms followed by a fermata on beat 3 followed by a small pause. The conductor must be responsible for subdividing these eighth note rhythms as they are slowing down. Each note should be played tenuto as if in reflection.[14] The release of the fermata as well as the prep for the pick up must be well thought out and rehearsed with the band so each ensemble member knows how it will be conducted.

The pick up to the last note is a dotted eighth note followed by a sixteenth note. The sixteenth note must subdivided and placed carefully, following the conductor, so it is played together and in time.

Instrumentation

Flute 1st Bb Trumpet

Oboe 2nd Bb Trumpet

Eb Clarinet 1st Horn in F

1st Bb Clarinet 2nd Horn in F

2nd Bb Clarinet 1st Trombone

Eb Alto Clarinet – Optional (Doubles Flute or Oboe 2nd Trombone

Bb Bass Clarinet Bartitone (TC & BC)

Bassoon Tuba

1st Eb Alto Saxophone Timpani

2nd Eb Alto Saxophone Suspended Cymbal

Bb Tenor Saxophone Mallet Percussion: Bells, Vibes,

Eb Baritone Saxophone Chimes.

Instrumentation Considerations

With Quiet Courage is composed for a large band instrumentation. None of the instrumental parts are extremely technical and each of them has a fairly modest range which makes the piece accessible to a wide array of ensembles.[15]

Trumpet:

The trumpet solo needs to be blended and balanced carefully with the horns and alto saxophones from 9 to 13.

Woodwinds:

The woodwinds need to be carefully balanced in the section at 25 that includes contrary motion and again at the end so the descending parts do not drown out the ascending parts.

Percussion:

The stems-up part is written for the bells and the stems-down part is for the vibraphone. If needed, the parts can be modified to suit the level of the players. The vibraphone part may be played on the bells with soft mallets, the piano or synthesizer, or omitted entirely, if needed. The chime part may also be omitted if necessary.

Achieving Balance and Blend:

Within the sections at Measures 33 and 49 there are two countermelodies, a higher and a lower one. To achieve balance it may be beneficial to put more of fewer players on the higher or lower countermelody. If the ensemble has a large, strong horn section, one may wish to put more or all of the players on the higher countermelody. The higher countermelody is a lovely melody that should soar up close to the melody going on within these sections.[16]

Timbre and Color:

The melody and counter melodies are passed from section to section throughout the piece. The timbre and color of each instrument section should be brought out to create a variety of sounds within the melodies.[17]

Form

The form of the piece is A (extended) B A’ C A’’ Coda. The form of the piece and the developed B and C sections could symbolize many different journeys; the journey Daehn’s mother may have suffered throughout her life, the journey through unknown feelings and emotions, the journey through the stages of grief, and other personal journeys the composer may have traveled through that we do not know about. Each player and ensemble will interpret the form and the significance of it differently.

Performance Aspects

Cross- Curricular Connections:

Technology: Students create a slideshow that represents the themes and emotions represented in the piece that could be shown while playing the piece, Ex. A slideshow about heroes.

Health: Students research the stages of grief and how people deal with losing a loved one and discuss their findings in class.

English: Students could do a unit on dedication including discussions on what dedication is. Students could write a journal article, song, monologue, short story, or poem dedicated to someone in their life they have lost. (Preferably a family member or friend, but if needed could be someone else they know of. Ex. Elton John Tribute)

Students could study how dedication can affect the interpretation of a piece of writing or a piece of music.

Students could have many discussions centered around the themes of the piece With Quiet Courage, such as tributes, heroes, monuments, etc..

In Performance:

- Students should read the poem and additional words (mentioned in the historical notes section) Larry Daehn wrote about his mother and describe the background of the piece to the audience. By doing this, the piece is given context and is more meaningful for the players and listeners.

- Students could project the slideshow they have created in a technology class onto the wall of the facility they are playing the piece at to share a deeper connection to the music with the audience.

Concepts, Sub-concepts and Objectives

Concept: Melody

Sub-concepts: Programmatic Music, Countermelodies, Phrasing, Releases, Contrary Motion.

Objectives: By the end of instruction, students will be able to:

• Define each of the sub-concepts listed above.

• Identify aurally each of the two countermelodies within the piece.

• Demonstrate through performance and identify aurally an understanding of legato style.

• Demonstrate through performance an understanding of the tension and release that is demonstrated through suspensions.

• Demonstrate through performance how note and phrase releases should be played within the style of the piece.

• Identify the section that involves contrary motion within the piece.

Concept: Harmony

Sub-concepts: Suspension, Chord structure and root movement.

Objectives: By the end of instruction, students will be able to:

• Demonstrate through performance, identify aurally, and write suspensions.

• Demonstrate through performance an understanding of the chord structure and root movement within the piece.

Concept: Rhythm

Sub-concepts: Dotted Rhythms, Syncopation, Pulse, and Subdivision

Objectives: By the end of instruction, students will be able to:

• Identify visually dotted and syncopated rhythms.

• Demonstrate through performance and written notation an understanding of dotted rhythms and syncopation.

• Explain orally the definition of pulse and subdivision.

• Demonstrate through performance a sense of internal pulse and subdivision.

Concept: Instrumentation

Sub-concepts: Balance, Blend, Tone Color.

Objectives: By the end of instruction, students will be able to:

• Define balance and blend and the factors that contribute to each.

• Demonstrate or discuss which instrument families to be listening to throughout each section of the piece.

• Understand and discuss the pyramid of sound

• Demonstrate blending as an individual, and within a section, instrument family, and ensemble as a whole.

• Identify what tone color should be achieved in each section of the piece and how it contributes to the emotions and feelings expressed in the piece.

Concept: Dynamics

Sub-concepts: Playing dynamics beyond what is written in the parts, Listening and playing dynamics as a section and as an individual.

Objectives: By the end of instruction, students will be able to:

• Demonstrate through performance contrasting dynamics throughout the piece.

• Demonstrate through performance playing dynamics as an individual and as a section.

• Understand and demonstrate the dynamic level of the melody and countermelodies in relation to the rest of the parts in the piece.

• Interpret and demonstrate through performance musical dynamic choices.

Concept: Texture

Sub-concepts: Analyzing texture, analyzing the effects texture creates within a piece.

Objectives: By the end of instruction, students will be able to:

• Use words such as thin, thick, full, sparce, broad, to discuss texture.

• Identify the texture of each section of the piece and describe how it plays a role in what the composer was trying to portray.

Concept: Form

Sub-concepts: Analyzing form.

Objectives: By the end of instruction, students will be able to:

• Describe orally the form of the piece.

• Describe how each A section of the piece differs from the others.

• Use their knowledge of form to determine the form of other pieces.

Additional Concepts

Sub-concepts: Historical Aspects, Personal Connection, Purpose.

Objectives: By the end of instruction, students will be able to:

• Understand the historical background and purpose of the piece.

• Convey orally and through performance the historical background and purpose of the piece to an audience.

• Link the historical aspects and emotions expressed from the piece to personal feelings and experiences.

• Analyze how composing the piece was an outlet for Larry Daehn.

Glossary of Musical Terms

Chorale – originally a hymn sung by a congregation in a church, now may include works that are in a similar character in a classical setting

Countermelody – another melody that is not usually in connection with the main melody but is another voice that needs to be brought out musically.

Courage - the quality of mind or spirit that enables a person to face difficulty, danger, pain, etc., without fear; bravery.[18]

Etude – a piece of music that is generally technically challenging and may be designed to work on a new or certain skill.

Melody – a succession of notes that is heard as a single entry. Usually has one or more phrases and is heard throughout the piece in various forms.

Molto Cantabile

Molto – very, much

Cantabile - in a singing style, song-like.

Programmatic Music – music that is composed to portray an idea, event, image or feeling.

Quiet – making little or no noise or sound.

Rubato – Robbed time – slight rushing and slowing of the tempo to enhance the meaning and beauty of a phrase.

Subdivision – a division of the beat audiated in your head to help keep a steady pulse. The more subdivisions in each beat generally the more steady the pulse Ex. 1 e & a, 2 e & a.

Suspension – creating tension and release by having one or more notes temporarily held, while the underlying harmony changes, before resolving to a chord tone.

Syncopation – an upsetting of the normal meter, pulse, or rhythm by emphasizing weak beats in a measure or weak parts of a beat.

Tenuto – sustain notes for the full value and apply a slight weight to each note. Possibly try tonging with a doo doo doo sound.

Musical Terms from the Score

Andante – At a moderately slow walking pace.

Crescendo (cres.) – A gradual increase in dynamic, while ensuring good tone and balance and blend within the ensemble.

Diminuendo (dim.) – A gradual decrease in dynamic, while ensuring a good supported tone and balance and blend within the ensemble.

Fermata – a symbol placed over a note that means to hold the note for longer than the written value – usually hold for the value of the note and an extra half the value of the note at least.

Largo - At a very slow tempo.

Legato – To play notes in a smooth and connected manner.

Maestoso – An Italian term meaning to play a passage in a stately, dignified and majestic fashon.

Ossia – a score marking that indivates an alternate way of performing a passage. Ex. If there is a divided part you may choose the top part if the bottom is out of your range or vice versa.

Poco a Poco – little by little

Ritardando (rit.) – gradually slowing in tempo

Activities for Teaching Comprehensive Musicianship

Melody

Sub-concepts: Programmatic Music

Activities:

• Students will find another Programmatic piece written in memory of a person, place or event. Students will be asked to research and write about what the piece is about. Students will then compare and contrast the piece they choose with With Quiet Courage in terms of their purpose, style, melody, phrasing, instrumentation, texture, form, and any other additional concepts that are relevant. (Examples would include An American Elegy, Held Still in Quick of Grace, etc.)

Assessment: This activity will be graded using a rubric. The rubric will be based on different levels of detail and thought in each category. The categories would include research of the piece, comparing and contrasting purpose, style, melody, phrasing, instrumentation, texture, form, and additional concepts.

Sub-concepts: Melody and Countermelodies.

Activities:

• After discussing melodies and countermelodies in class, students will be expected to transcribe and learn the melody and countermelodies (if any) from the Programmatic piece they picked in the first section. Students will be expected to hand in the written transcription of the melody/countermelodies in the key of their instrument and perform the melody/countermelodies, taking into account dynamics, phrasing, and releases which are also discussed in class.

Assessment: This activity would be graded using a rubric. The rubric would contain categories that grade both the written transcription and the performance of the melody and countermelody (that includes dynamics, phrasing, releases, etc.).

Harmony

Sub-concepts: Suspension

Activities:

• In groups of 4, students will compose an 8 measure, 4-part chorale in D Flat Major and in the style of the piece With Quiet Courage. The chorale must have a minimum of 2 suspensions. Once the chorale is written students will have to transpose the parts so that one student can play each part. The chorale will then be performed for the class. It is expected that concepts we have discussed in class such as dynamics, phrasing, and releases are addressed in the performance of the chorale.

* Two parts on the treble clef line, two parts on the bass clef line.

[pic]

[pic]

Assessment: The activity would be graded using a check-list and a rubric. The check-list will be used for the written portion of the chorale and would include categories such as:

In the key of Concert D Flat Major _____

The chorale is 8 measures _____

Accuracy of Suspension #1 _____

Accuracy of Suspension #2 _____

In the style of With Quiet Courage _____

Accuracy of the notated chorale _____

Accuracy of the transposed parts _____

The rubric would be used for the performance of the 4-part chorale and would include categories such as: Use of Dynamics, Sense and Shape of Phrasing, Syle and style of the releases, Accuracy of notes and rhythms, Etc. All of the students in the group will get the same mark so it will be important for them to help each other.

Rhythm

Sub-concepts: Dotted Rhythms, Syncopation, Pulse

Activities:

Choice Assignment

• In pairs, students will create a 16 measure rhythmic duet using the following dotted and syncopated rhythms.

o Each part of the duet must include 6 of the 8 rhythms listed.

o The duet will be performed for the class and the notation will be handed in for grading.

o A steady pulse must be evident.

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Assessment: This assignment would be graded using a checklist and self - assessment. Both of the participants in the duet will be graded on the same checklist and receive the same mark. Students will be expected to assess their duet in terms of how well they contributed to the duet and how well the duet was performed for the class. The checklist will include categories such as:

Both parts of the duet are 16 measures _____

Each part is different and creative _____

Each part contains 6 out of the 8 rhythms _____

Each measure is correctly notated _____

A steady pulse was evident _____

The duet was performed for the class _____

OR

• Students may individually compose a 12 bar etude using the same dotted and syncopated rhythms.

o The etude can be in any key other than Concert B Flat Major.

o Six of the eight rhythms listed above must be included.

o The etude should have clear shaped phrasing.

o A steady pulse must be evident.

o The etude will be performed for the class.

Assessment: This assignment will also be graded using check-list and self-reflection. Students will be asked to reflect on the process of composing the etude and some of the challenges and successes they came across. The check-list will contain categories such as:

The etude is 12 bars long _____

The etude is in a key other than concert B Flat Major _____

Six of the eight rhythms are included _____

The etude has clear phrases _____

A steady pulse was evident _____

The etude was performed for the class _____

During performance the phrases were shaped effectively _____

Instrumentation

Sub-concepts: Tone Color.

Activities:

• From listening in class or to a recording, students will create a chart outlining who has the melody and countermelodies in each section of the piece. Students will then reflect, in their ongoing music journal, why they believe the composer chose each instrument section to play the melody or countermelody when they did, and describe how each instrument section’s sound adds to the overall tone color and mood of the piece.

• This activity would take place after the activity where students determine the form of the piece.

Assessment: Each section of the form of the piece will be graded out of 2 based on if the student correctly determined the section(s) that have the melody and countermelody. Because the reflection in the music journal is based on personal opinion, the journal would be marked out of 5 based on the detail and thought put into the entry.

Sub-concepts: Balance, Blend

Activities:

• Students will be expected to watch a You-tube video of a high school or junior high band recording of the piece With Quiet Courage. Students will be required to document which video they will be watching (they will be responsible for picking one with good sound quality) and discuss the following questions in their ongoing music journals.

o Can you hear all of the instrument parts of the piece being covered?

o Is the band balanced according to the Pyramid of Balance we have been discussing in class?

o Are there any sections of the band or piece that cannot be heard and should be brought out?

o Are there any instruments or instrument sections that stick out in terms of dynamics or style?

o Are there any places where you cannot hear the melody or countermelodies?

o Are there any places where you cannot hear the bass line or harmony?

o Comment overall (as best as possible) on the sound, balance, and blend of the ensemble in the video.

Assessment: Each of the questions above will be marked (rubric style) on a scale of 1 to 3 based on the accuracy and detail of the answer. The journal entry will be out of 21 marks total.

Dynamics

Sub-concept: Contrast

Activities:

• Throughout their time in band, students will be introduced to the basics of conducting, both understanding and participating. We will have also worked on different chorales as part of our warm-up everyday.

• Students will be expected to pick one of the chorales the ensemble has had experience with, and prepare to conduct it in front of the class.

• The focus of this activity will be incorporating dynamics into the student’s conducting, and being able to portray the dynamic contrasts they wish to achieve in the chorale.

o Each student will need to interpret dynamic contrasts within the chorale and express these contrasts through their conducting to the ensemble.

o Each student will sign up for a day to conduct his/her choice of chorale in the warm-up.

Assessment: This activity will be graded using a rubric and peer assessment. Students will be graded using a rubric based on their basic conducting skills, interpretation of the dynamics, and ability to communicate the dynamic interpretation to the ensemble. After each student conducts in front of the ensemble, peers will write down two things they enjoyed about the student’s conducting and one thing the student could work on for the future. I would then read over all the peer assessments and make sure they were appropriate before giving them to the student as formative assessment.

Sub-concept: Playing dynamics beyond the written part.

• There are minimal dynamics written into the score and the parts of the piece With Quiet Courage, but yet the piece is still extremely expressive. As a class, we will discuss the shaping of phrases and adding dynamics beyond what is written on the page. Each student individually is responsible for helping to shape phrases and play musically. Often, students will forget to play dynamics if they are not written on the page in front of them.

• Through listening and participating in discussions about dynamics and phrasing in class, listening to their section and other sections, or listening to a recording, students will be expected to write in dynamic markings (cresendo, decresendo, f, mf, etc.) for every phrase of the piece. This assignment is one of the ways I can see if students are understanding the concepts we are discussing, and it will serve as a reminder of the dynamics and phrasing we have interpreted as a class.

• Students will be expected to hand in their marked music at a convenient time (ex. The night after a concert, etc).

Assessment: I would grade each players music out of 5 (rubric style) based on the accuracy and detail of dynamics and phrasing written into the part.

Texture

Sub-concepts:

Activities:

• Similar to the chart student’s will create analyzing the melody and countermelody of the piece, students will create a chart analyzing the texture of each section of the piece. This activity would also be done after students have figured out the form of the piece.

o Words such as thick, thin, full, sparce, etc. should be used.

o Which instrument groups (brass, w/winds, percussion) are playing should also be analyzed.

o Students will be expected to comment in their ongoing music journal how the texture adds to the emotion of the piece.

Assessment: Each section of the form will be graded out of 2. One mark will be given for the analysis of the texture and 1 mark for the analysis of the instrument groups. Because the entry in the music journal is a personal reflection, the journal will again be marked out of 5 (rubric style) based on the detail and thought that is presented in the entry.

Form

Sub-concept: Analyzing Form

Activities:

• After discussions and examples of analyzing the form of piece students will be asked to outline the form of the piece With Quiet Courage. Students can analyze the form by listening in rehearsals, listening to recordings, or possibly looking at the score (if needed).

• Students will be asked to outline the form of the Programmatic Piece they chose for the Programmatic Music Activity and comment on their thinking process when determining the form in their ongoing music journal.

Assessment: The form outline of With Quiet Courage will simply be formative assessment to check for student understanding. I will give written comments as feedback for the students. This activity will simply be a lead in for when students outline the form of the programmatic piece they chose. A check-list will be used to assess the outline of the programmatic piece and the entry in the music journal will be graded out of 5 (rubric style) based on detail of their thinking process.

Additional Concepts

Sub-concepts: Historical Aspects, Personal Connection.

Activities:

• Students will be expected to write in their ongoing music journal the emotions or feelings that are expressed in them during each section of the piece. Students should also comment on what each section of the piece sounds like to them.

Assessment: This activity is highly personal so I would not feel right marking students on their own thoughts and opinions. This activity would again be marked out of 5 based on the thought and detail put into the entry.

• As part of a cross-curricular assignment, students will be expected to write a journal article, song, monologue, short story, poem, or other written piece dedicated to someone in their life they have lost. (Preferably a family member or friend, but if needed could be someone else they know of. Ex. Princess Diana)

Assessment: Students will be graded using a rubric for this assignment. The rubric will be different based on the type of piece they choose to write, however the weight of the assignment in the summative grade will be the same.

Sub-concepts: Purpose.

Activity

• The piece With Quiet Courage was written for a specific purpose, to honor the memory of the composer’s mother. In their ongoing music journals, students will be expected to comment on following questions

▪ Do you believe the purpose of the piece is clearly expressed within the piece? Why or why not?

▪ It is clear through some of the pieces we have studied that writing music is an outlet for feelings and emotions. Why do think this is so?

▪ What are other outlets for feelings and emotions that are used in society today?

Assessment: Since this activity is again, a highly personal one, this journal entry will be graded out of 5 based on completeness, detail and thought expressed.

Final Summative Assessment:

To wrap up all of the concepts that the students were introduced to while studying this piece I would have a final test for the students to complete. I would give them the score for a piece of music (which is still undecided, as I do not have a lot of scores to look through and choose from) and ask them to identify some or all of the following:

- The form

- The texture of each section

- Syncopation

- Dotted Rhythm The test would be graded based on the number of

- Suspension elements and complexity of the elements students

- Style are asked to identify.

- Composer

References

Score:

Daehn, Larry. (1995). With Quiet Courage. New Glarus, WI: Daehn Publications

Websites:

An American Elegy by Frank Ticheli. (n.d.). Welcome to Manhattan Beach Music. Retrieved January 29, 2011 from

Collins English Dictionary. (2009). Courage. Retrieved January 27, 2011 from

Collins English Dictionary. (2009). Quiet. Retrieved January 27, 2011, from

J.W. Pepper and Sons (n.d.). On a Hymnsong of Philip Bliss. Retrieved January 29, 2011 from

Public Affairs (n.d). The United States Navy Band. Retrieved January 29, 2011 from

Stehle, Roy,. (2010). Music Program Notes. Retrieved January 26, 2011, from

Unknown, Author,. (n.d.). Larry Daehn. Retrieved January 29, 2011 from

Virginia Tech. (2010). Virginia Tech Multimedia Music Dictionary. Retrieved February 2, 2011 from

Books:

Blocher, L., Corporon, E.M., Cramer, R., Lautzenheiser, T., Lisk, E.S., Miles, R., Stamp, R,. (1998). Teaching Music Through Performance in Band. (Vol.2). Chicago, IL: GIA Publications, Inc.

Sound Recordings:

Dvorak, Thomas., (2001) Teaching Music Through Performance in Beginning Band (Vol. 1). Chicago, IL: GIA Publications, Inc.

Corporon, Eugene,. (1998) Teaching Music Through Performance In Band (Vol. 1, Gr. 2&3). Chicago, IL: GIA Publications, Inc.

Corporon, Eugene,. (1998) Teaching Music Through Performance In Band (Vol. 2, Gr. 2&3). Chicago, IL: GIA Publications, Inc.

Corporon, Eugene, Stamp, Jack,. (2003) Teaching Music Through Performance In Band (Vol. 2, Gr. 4 & 5). Chicago, IL: GIA Publications, Inc.

Corporon, Eugene,. (2003) Teaching Music Through Performance In Band (Vol. 3, Gr. 4). Chicago, IL: GIA Publications, Inc.

Corporon, Eugene, Stamp, Jack,. (2003) Teaching Music Through Performance In Band (Vol. 4, Gr. 2&3). Chicago, IL: GIA Publications, Inc.

Corporon, Eugene, Stamp, Jack,. (2003) Teaching Music Through Performance In Band (Vol. 4, Gr. 4). Chicago, IL: GIA Publications, Inc.

Corporon, Eugene,. (2005) Teaching Music Through Performance In Band (Vol.5, Gr. 2&3). Chicago, IL: GIA Publications, Inc.

Stamp, Jack,. (n.d.) Band Music of Distinction (Vol. 1) New Glarus, WI: Daehn Publications.

Stamp, Jack,. (n.d.) Band Music of Distinction (Vol. 2) New Glarus, WI: Daehn Publications.

Thompson, Randall,. (2008). The Peaceable Kingdom. Oxford, UK: Hyperion.

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[1] Daehn, Larry. (1995). With Quiet Courage. New GLarus, WI: Daehn Publications

[2] Teaching Music Through Performance In Band Pg. 278.

[3] Stehle, Roy,. (2010). Music Program Notes. Retrieved January 26, 2011, from

[4] Public Affairs (n.d). The United States Navy Band. Retrieved January 29, 2011 from

[5] Collins English Dictionary. (2009). Quiet. Retrieved January 27, 2011, from

[6] Collins English Dictionary. (2009). Courage. Retrieved January 27, 2011 from

[7] Unknown, Author,. (n.d.). Larry Daehn. Retrieved January 29, 2011 from

[8] Teaching Music Through Performance in Band Pg. 278.

[9] Virginia Tech. (2010). Virginia Tech Multimedia Music Dictionary. Retrieved February 2, 2011 from

[10] Daehn, Larry. (1995). With Quiet Courage. New Glarus, WI: Daehn Publications

[11] Teaching Music Through Performance In Band Pg. 279.

[12] Teaching Music Through Performance in Band Pg. 278.

[13] Teaching Music Through Performance in Band Pg. 278

[14] Teaching Music Through Performance in Band Pg. 278

[15] Daehn, Larry. (1995). With Quiet Courage. New Glarus, WI: Daehn Publications

[16] Teaching Music Through Performance in Band Pg. 279.

[17] Collins English Dictionary. (2009). Courage. Retrieved January 27, 2011 from

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