Listening Journals

Recording Summary/ History Form Personal

Pageant (1953) North Texas Wind Pageant was commissioned by I. An Essay in Modal This piece is a great demonstration of
Symphony (2009) Edwin Franko Goldman by the Counterpoint motive and motivic development. The
Vincent American Bandmaster II. A Celebration of 3 note motive within the horn is
Persichetti Association and is Persichettis Bitonality passed throughout the piece and
(1915-1987) 3rd piece composed for wind transformed, holding a great lesson to
symphony. It can be seen as be taught to ensembles working on
the sequel to Persichettis this piece. I believe this work is
previous composition, Psalm. suitable for advanced high school
students. As well, the contrast that
both movement I and II portray utilizes
both a lyrical and rhythmic aspect of
musicianship, allowing all members of
the band to play an important part.
English Folk Orchestral English Folk Song Suite is I. March: Seventeen English Folk Song Suite is a piece
Song Suite transcription by Vaughan Williams most Come Sunday that can be used early on within high
(1923) Gordon Jacob of famous piece for military band. school band programs and brought
the original piece, It is comprised of inspirations II. Intermezzo: My back to expand upon the content
Ralph Vaughan performed by the from multiple folk songs, being Bonny Boy learned previously. For example, the
Williams (1872- Academy of St Seventeen Come Sunday and first time the piece is taught, the
1958) Martin-in-the- Pretty Caroline in the first III. March: Folk Songs lessons could focus on how to properly
Fields conducted movement, My Bonny Boy from Somerset play each movements style. For the
by Sir Neville and Green Bushes in the second time the students play the
Marriner (2012) second movement, and Blow piece, the teacher could then have the
Away the Morning Dew, High class focus on how composers use
Germany, Whistle, Daughter, other music to inspire their pieces. This
Whistle, and John could lead into a historical analysis and
Barleycorn. lessons containing the folk tunes this
piece is based off of.
Suite No. 1 in E- Dallas Wind Holsts two suites are written Holsts 1st suite in E-flat Holsts suites both show great
Flat Major, Op. Symphony, for military band, and are both Major concepts within thin orchestration,
28, No. 1 conducted by multi-movement works. Holst creating very soloistic lines within all
(1909) Howard Dunn intended to write these pieces I. Chaconne instrument parts. His works move from
Suite No. 2 in F to emphasize the concert band II. Intermezzo fast paced marches to legato lyrical
Major, Op. 28, as its own influential medium, III. March movements, making these pieces
No.2 most likely influenced by suitable for creating a well-rounded
(1911) Holsts experience performing The 2nd suite in F major: concert. As well, the contrast within
on trombone. articulation in Holsts pieces give great
Gustav Holst I. March opportunity for studying articulation as
II. Song Without a unit.
Words
 Listening Journals
Lincolnshire Dallas Wind Graingers Linconshire Posey
Posy Symphony, was commissioned in 1937 by
Junkin, Jerry the American Bandmaster
Percy Grainger Association in hopes of creating
a piece of literature for modern
wind band. The title of this
work gains its name due to
Grainger personally traveling
throughout Linconshire,
England collecting Folk Songs
on wax cylinders in 1905. Once
commissioned, Grainger took
these folk songs and arranged
them in his own personal style,
incorporating suspensions,
dissonances, and odd meters
while also maintaining the
original style of each persons
interpretation of their
presented folk song.
Scenes from the Scenes from the Louvre is I.
Louvre Dello Joios depiction of the II.
2015 Texas Music Louvre in France through a
Norman Dello Educators Renaissance era influence
Joio Association mixed with Dello Joios personal
(TMEA): All-State compositional ideas. This piece
5A Symphonic was written specifically for a
Band (Live) 1964 television documentary
titled A Golden Prison: The
Louvre which was produced by
NBC. This pieces movements,
specifically 2-4, are each based
on or influenced by works by
Tielman Susato, Jean Baptiste
Lully, Vinvenzo Albrici and
known medieval themes such
as In dulci jubilo which is
III. Song of the
Blacksmith
IV. Fantasia on the
Dargasan.
I. Lisbon This is a fantastic advanced piece that
II. Horkstow Grange allows students to experience
III. Rufford Park moments in music that may sound
Poachers wrong but are purposefully
IV. The Brisk Young emphasizing unexpected moments in
Sailor music. For instance, Graingers use of
V. Lord Melbourne dissonances and suspensions may not
VI. The Lost Lady be what students are expecting in the
Found chords they are playing. This being
said, it is important to point out these
sounds to the students and why they
are right so they know what to listen
for.
The Portals This multi-movement work would be a
Children's Gallery great way to progressively work on the
topic of renaissance music with an
III. The Kings of France ensemble. For example, listening
projects could be used comparing the
IV. The Nativity Paintin way Norman Dello Joios works relate
to works that were actually composed
V. Finale during the Renaissance era. As well,
these styles could be related to a
separate Renaissance piece that the
ensemble themselves are playing.
When comparing these two time
periods, the class could discuss the
difference in instrumentation and
timbre and minute nuances
considering the advances made in
instruments between the two time
 Listening Journals
used in the 4th movement.
Mystery on Mena North Texas Wind This piece is based on a legend
Mountain Symphony, 2012 told in Arkansas Ozark
Mountains. It is said that in
Julie Giroux 1940 children went missing in
these mountains because they
had heard tales of angels who
were in the mountain and they
went looking for them. When
the children reached the top of
the mountains in the fog and
were about to turn around
when they saw 200 angels
playing golden instruments.
The angels then gave them
crowns and took them into
heaven with them. The opening
section is supposed to depict
the rising sun, the main theme
depicts the mountain itself, and
then ending of the piece
represents the clouds rising
away from the mountains.
Down a Country University of Written in 1962, Down a
periods. As an extension of these
lessons, the class could take portions
of period to watch the documentary
that the piece was written for to see
how it was actually implemented.
A-B- C-Coda: I really appreciate the story behind this
The first section of this piece and how each section has a
piece opens with timpani different style to emulate the story
and then ominous wind taking place. This aspect of Mystery
instruments play in the low on Mena Mountain allows for
register, slow and legato. creativity to take place in the band
Brass instruments and room, perhaps allowing the students to
cymbals enter later to add come up with their own story and see
counter melodies and how it lines up with the original story
affects. The melody of the piece.
expands and crescendos as
more instruments enter and
climax.
The B section begins with
upper woodwinds playing a
spritely melody,
accompanied by a
syncopated staccato
rhythm. The brass play a
counter melody to this
section in accompany with
mallot percussion. Nearing
the end of this section, the
melody thins out down to a
solo in the flute supported
by chimes and clarinets.
The 3rd section takes on a
slower new idea, building in
instrumentation from the
upper woodwinds down to
the low brass, finally
moving into the coda, in
which ideas from the B
section return and close the
piece.
A-A-B-A Form: The light and delicate balance required
 Listening Journals
Lane Massachusetts- Country Lane is a piece that
Am Aaron Copland originally
Aaron Rowell, Jr., arranged for piano. The piece
Copland/Patterso Malcolm W. was written for Life magazine
n to provide average piano
students access to quality
music. The title itself was
developed after the piece was
created to fit the flowing
quality of the work.
Yorkshire Ballad University of James Barnes composition
Texas at El Paso Yorkshire Ballad was
James Barnes Wind Symphony: premiered at the Kansas
Danza Sinfonica Bandmaster Association in
Huthcinson, Kansas. When
Hufstader, Ron asked what Barnes composed
the piece about, this was his
response:
People always ask me what I
was trying to portray when I
wrote Yorkshire Ballad. All I
can say is that I was thinking of
the beautiful, green Yorkshire
Dales of northern England; the
rolling hills and the endless
stretch of beautiful
pasturelands that my wife and I
loved so much when, a year
before, we had driven through
This piece is structured with
the A and A sections going
from measures 1-20, with
the B section moving from
measure 20-35. Last the
final A section moves from
measure 35 to the end. The
piece begins in F major and
moves to Db Major at
measures 25. One reaching
measure 35, the key moves
back to F major again and
finishes out the work.
A-A-B-A Form:
utilized through teaching timbre and
Yorkshire Ballad begins with
the first A section being
stated with the clarinets,
alto saxophone, and horn
having the melody, the
bassoon, tenor saxophone,
and baritone moving to the
counter melody, and the
harmony played by the bari
saxophone, bass clarinet,
and tuba. Following the next
A section is played in this
same manner but with the
flute and horn playing
melody, clarinets, bassoon,
tenor saxophone, and
baritone playing counter
melody, and bass, clarinet
in Down a Country Lane would be a
challenge that many high school
students would need to work to create
a good, yet subtle tone. As well, the
instrumentation of woodwinds moving
at different times while others sustain
notes could hold as a challenge.
Students would need to be very
patient with this piece and resist the
urge to speed up when they have
moving lines, or slow down when they
have held notes. I believe something
that could help create a grasp on this
content could be to create a visual
image of how the students feel the
music builds and releases in different
sections. This approach could allow for
students to support what they are
playing with a story and a visual image
that they personally connect with to
create a steady balanced ensemble.
In the piece, the melodic idea could be
instrumentation, considering that the
melody passes around the ensemble
depending on the different sections. By
having the students listen to who has
the melody, this would most likely help
with the possible issue of slowing down
with the accompaniment.
 Listening Journals

this most marvelous spot in the and tuba playing the

world. harmony.

For the B section, the

melody occurs in trumpets
1&3, tenor sax, baritone,
and flute. The counter
melody is then played by
the 2nd trumpet, alto sax 1,
and oboe. Bassoon, alto
sax 2, bari saxophone, horn,
trombone, and tuba play
the harmony for this
section.

The piece finishes out with

a final coda, as the return of
the last A section.

A Movement for University of New This movement is written into
Rosa Hampshire Wi, reference to Rosa Parks, a
(1992) directed by black woman who was arrested
Andrew Boysen Jr. for refusing to give up her seat
Mark on the bus to a white male.
Camphouse This movement consists of 3
(b. 1954) sections that portray aspects of
the way Rosa Parks lived and
they occur as follows: First
portrays the early years of
Parks life until marriage, the
second portrays the social
injustices and move for
equality in Montgomery, and
the final section portrays a
quiet strength that Rosa Parks
showed.
A Movement for Rosa is
divided into 3 specific
sections. The first section is
a portrayal of Rosa Parks
birth through her marriage
to Raymond Parks. This
section begins with the
melody in the flute, which
moves to a saxophone duo,
then horns, and then the
full ensemble.
The second section depicts
the quest for social equality
along with the racial
struggles during her Parks
lifetime. During the section,
the horns, trumpets, and
upper woodwinds play the
melody, there is a great use
This piece is not only a great
demonstration of historical fact that
can be integrated into a cross
curricular lesson, but it also portrays a
clever use of fragmentation with the
general melody of We Shall
Overcome. Even the concept of how
the musical idea is fragmented and
comes together in the end of the piece
could stand as a topic that can be
interpreted and discussed within the
classroom. I believe this piece is a fine
example of how events within history
can affect the music we create, which
in turn later affects the we live and
interpret those events in the future.
 Listening Journals
William Byrd Eastman Wind The William Byrd Suite is a
Suite Ensemble, compilation of the musical
Frederick Fennell styles of both William Byrd and
Gordon Jacob Gordon Jacob. William Byrd was
a prominent composer during
the late 1500s to early 1600s
who founded the English
Madrigal School was also. Byrd
was an English Renaissance
composer who had work
published in the Fitzwilliam
Virginal Book, written for the
virginal, an instrument that did
not have contrast in dynamics
or timbre. Long after Byrd had
passed away, Gordon Jacob
took six pieces of William
Byrds from the Fitzwilliam
Virginal Book and transcribed
them for wind band. Jacob
payed great attention to both
keep the style of the Virginal in
mind, while also allowing for
trademark dynamic and timbral
elements to influence Byrds
work.
Courtly Airs & Dallas Wind Courtly Airs and Dances
Dances Symphony consists of movements
of dissonances, and the
piece reaches is dynamic
peak.
Finally, the 3rd section
represent serenity and the
underlying concept of
racism still lingering in
modern society. We Shall
Overcome plays in a solo
horn in this final section
leading to the ending of the
piece.
I. The Earle of The movements of the William Byrd
Oxfords Marche Suite not only allow for a great
II. Pavana discussion on dynamic contrast and
III. John come kisse me how it affects the overall style of a
now piece, but it allows for a great
IV. The Maydens Song discussion of how timbre affects style.
V. Wolseys Wilde Because these movements were
VI. The Bells originally composed for virginal, the
music educator could use recordings of
this instrument and compare it to the
capabilities of wind instruments. A
challenge would be to have students
try to replicate the timbre of the
virginal to maintain intended
character, while also utilizing the
dynamic ability of instruments in the
21st century. It seems that the style
would be the most difficult part to
master as an ensemble, focusing
specifically on the lightness verses
weight that would be intended on a
virginal. This piece would be great for
incorporating historical context of the
Renaissance period and instrument
development during this time.
I. Intrada Because each movement from Courtly
II. Basse danse Airs and Dances emulates a form of
 Listening Journals
representing different
Ron Nelson Junkin, Jerry; Renaissance dances that were
Nelson, Ron popular during the 1500s. Each
dance uses a different style
and tempo, and Ron Nelson
particularly decided to have
the Basse Dance, Pavane, and
Allemande emulate the music
of Claude Gervaise, utilizing his
specific style as well as the
style of other compositions
from this period in time.
Americans We UNITED STATES Written in 1929, Americans
AIR FORCE We was written and performed
Henry Fillmore RESERVED BAND: by Fillmore at every
Henry Fillmore's performance he held at the
Greatest Hits Cincinnati Zoos Pure Food and
Health Show, and at times he
even called this piece The
Cincinnati Zoo or Pure Food
and Health. Fillmores piece
and self became well known
through the free concerts he
held during the Great
Depression, as well as through
him being a radio band leader.
This piece was affectionately
dedicated to all of us.
Any Sousa The Presidents From 1880-1892 John Philip
March Own Marine Sousa became known as The
Stars and Stripes Band (2011) March King, deservedly so due
Forever to composing 136 marches.
During this time, Sousa was the
John Philip Sousa leader of the Marine band, and
spent a duration of his time in
Europe. In 1896 John Philip
Sousa composed Stars and
Stripes Forever to depict a
III. Pavane dance from the renaissance, this piece
IV. Saltarello work great with a unit focusing on time
V. Sarabande signature and tempo. To help students
VI. Allemande understand the forward motion of each
of these movements, it could be
beneficial to show videos of these
dances in class or have the students
learn some motions of the dances
during either music or gym class. This
approach to utilizing this piece could
especially helpful on some of the
slower dances, because the students
would physically have to feel how long
a phrase should be expressed before
moving onto a new idea.
American March Form: This piece would be great to
Introduction, 1st Strain incorporate into teaching when
(repeated), 2nd Strain students are learning about the Great
(repeated), Trio, Break Depression in a world history class. By
Strain, then Trio repeated. having more than one connection to
In duple meter. draw from, the students could better
retain what they learn from this piece.
Specifically, a great deal of attention
could be paid to articulation and the
overall marching style of full driving
low brass and flourishing wind
sections.
Stars and Stripes Forever Some musical concepts that could be
is written in a standard taught through this piece include
march form, being countermelody and texture. As the
(AABBCCC). There is a four piece progresses, new counter
bar introduction with a Half melodies are added, making this
Cadence, leading to our 16 concept very accessible to teach. As
bar A section which repeats well, each section has some form of a
itself. Next comes the 16 melodic line, allowing for full ensemble
bar B section which ends on participation, and teaching marching
an Authentic Cadence, and form would be a very obvious lesson as
 Listening Journals
homesickness he felt while he
was away from America, as
well as to depict a visual of the
American flag. Out of all of his
marches, this one in particular
has become Sousas most
famous.
Seize the Day! Cleveland Seize the Day! (Carpe Diem)
(Carpe Diem) Symphonic Winds was written in a total of ten
-Patrick J. Burns: 2010 days in January 2008. Burns
wrote this piece to capture the
energetic spirit we have as we
try to reach our dreams. The
energetic piece portrays
optimism through its fanfare
style and prominent
modulation nearing the end of
the work. The Westlake High
School (CA) Wind Ensemble
commissioned this piece as a
concert opener from Burns to
be performed for the first time
in Carnegie Hall.
repeats a 2nd time. The well. Some difficulties to focus on
piece then moves to a 32 would be on controlling dynamics and
bar trio section, followed by balance, especially if more than one
a 24 bar interlude. Section piccolo is used.
C is played again with a
counter melody for 32 bars,
then the interlude again,
and finally the C section
again with an additional
counter melody.
Seize the Day! by Patrick J. Seize the Day! (Carpe Diem) is a
Burns, is a fanfare for great piece for emphasizing the brass
concert winds and section and would act as a great
percussion that is about opener for a concert. This piece would
2:30-3:00 minutes long. push the endurance of the brass
This piece employs a fast section through its great focus on
paced and shimmering them, but also not push their physical
opening great for beginning stamina due to it being so short. As
a concert, both starting and well, it would create a positive
ending on a strong note. challenge for trill like features in the
This piece utilizes a variant woodwind parts.
of an A-B-A-Coda form. For
the first A section, the piece
begins in Bb Major, andThe
trumpets lead the melody
above the moving line,
passing the melody in
fragments between
saxophone, horn,
euphonium, and tuba,
slowly adding in more
instrument sections until
the end of the idea at
measure 17.
The new theme is first
iterated in a contrasting
texture, utilizing the
woodwinds towards a
cadence in measure 38.
 Listening Journals
Jazz Band Listening Journal
Recording Summary/ History
Moten Swing by From Basie's 1959 This standard was a very
Bennie Moten, "Chairman Of The important historical stepping
performed by Board" album. stone in jazz, allowing for a
the Count Basie freer form of orchestral jazz
Orchestra and a leading point towards
swing. This piece was
composed in 1932 and was
first composed in an earlier
composition, when Buster
Moten and trombonist Thamon
Hayes composed "Moten
Stomp" in 1927. Now, this
piece acts as a anthem for
Kansas City.
Here the B theme is
reiterated and at measure
49, a half cadence is
reached at the end of a
phrase making its way to A.
At measure 17, the
timpani and snare continue
to play through the musical
line and the piece makes its
way to a close.
Form Personal
Moten Swing is a thirty- This chart has a catchy melody that
two measure AABA form incorporates easy to manage layering
that is based on the chord in instrumentation. I especially enjoy
progression to a song called the fact that this piece is a great
Youre Driving Me Crazy. It example of swing and includes swing
begins with a moving in its title. This would be a great
bassline and the melody teaching tool for students to
played in the piano. experience swing in jazz, and would
Trumpets enter playing a hit allow for many soloing opportunities.
on a chord change, and
bringing in a section with
trumpet and saxophone
carrying the melody.
Saxophone and muted
trumpet take solos, and the
opposite instrument plays
backgrounds with bass and
drum set. The main melody
comes back in saxophones
and repeats until it fades
 Listening Journals
Take the A Train 1943 performance Take the A Train was Take the A Train is a
by Billy with vocalist Joya composed in 1939 and is one
Strayhorn, Sherrill (Youtube) of the best known
performed by collaboration between
the Duke Ellington and Strayhorn. The
Ellington title refers to the then-
Orchestra new A subway service. The A-
Train ran through New York
City, going at that time from
eastern Brooklyn, on the Fulton
Street Line opened in 1936, up
into Harlem and used
the Eighth Avenue Line in
Manhattan opened in 1932. In
relation to the beginning lyrics
of this piece, Ellington wrote
directions for Strayhorn to get
to his house and the lyrics
began, Take the A train... switches from the key of C
A Child Is Born 'CONSUMMATION' First performed by Richard
by Thad Jones, (Solid State Davis and Roland Hanna in
performed by Records) (Youtube) Germany as an interlude for
the Thad Jones ensemble. Jones then
Jones/Mel Lewis took this melody and
Orchestra transformed it into a full
orchestra work, which he
ended up taking credit of. The
Thad Jones/ Mel Lewis
Orchestra presented this piece
on their Consummation
album in 1970.
out completely, ending on
altering dynamics within
the last few seconds of the
piece.
Working on the timbre and style of
thirty-two measure AABA playing for the riff sections in both
form. Duke Ellington plays trumpets, trombones, and saxophone.
an opening piano solo, and These sections would show very
the walking bass/ bass distinct chord changes and if this is
drum create a typical swing well learned and understood by the
style rhythm section. The ensemble, the students would play
saxophones begin with the together as a solid unit, with the
melody, with syncopated consistent tempo of the rhythm
responses from the trumpet section. I appreciate as well that this
and trombone. piece calls for a vocalist, which would
During the bridge, the allow more opportunity and interest for
trumpets drop out and the music students beyond the jazz band.
trombones only respond.
The response becomes
even more condensed as
the piece progresses.
Eventually, the piece
to Eb during two trumpet
solos. The melody then re-
enters and fades out to the
end of the piece.
This piece acts as a The use of brushes on the drum set
chamber jazz number, adds a nice contrasting feeling in this
beginning solely with piano piece to others among this list. This
for the first 8 bars. technique is an important one for set
Following this, the bass and players to have a chance to perform,
drums set up the rhythm which adds to why this piece is a good
section, which is followed one to work with for high school jazz
by Jones entering on band. Further, the slow tempo of this
flugelhorn and restating the piece would allow for great opportunity
melody. Continuing, the full to focus on tone quality and the feeling
orchestra joins in to repeat of a Chamber setting.
the melody again one last
time before the piece
comes to a close. In a
 Listening Journals
A Night in Tunisia This piece, also known as
by Dizzy Interlude was composed in
Gillespie 1941-2. Gillespie composed
this piece at Kellys Stables in
New York. The piece uses a
combination of American Jazz
and Afro-Cuban rhythms, and
is very well known for its
efforts to use a non-walking
baseline.
On Green COBO'S JAZZ Kapers piece was composed in
Dolphin Street QUARTET 1947 for a film titled Green
by Bronislaw 2013 (Youtube) Dolphin Street, based on a
Kaper 1944 novel of the same name
by Elizabeth Goudge. This
piece was later recorded by
Miles Davis in 1958.
Giant Steps by Giant Steps Album This piece was released on a
John Coltrane (Youtube) CD of the same title, and has
acted as one of the many
works off if this album that re
used as templates for jazz
saxophonists. The quickly
changing key centers act as a
challenge for many soloists
who would take on playing this
composition.
specific version, the flute
ends the piece with the
melody.
The style of this chart is
hard bop with a form of 32-
bar AABA with an interlude,
being a twelve-bar
sequence leading into a
four-bar break for the next
soloist. The A section
baseline avoids a standard
walking baseline and the B
section is also unique in
that it borrows the B section
from another chart, Alone
Together. It uses a chord
progression of II-V-Sub V of
the A section.
This piece uses a 32-bar
phrase structure A-B-A-B
Form. Each of these
sections is divided into
subsections of 4 measures
each, and the last section
contains a 4 bar extension.
This piece is in a hard bop
style and takes on a 32 bar
form, utilizing AA. The
piece plays through 21
choruses and a coda, with
many interruptions of key
changes, fast tempos,
harmonic improvisation,
and lengthy solos.
This piece acts as a great historical
lesson for many reasons in a school
setting. First, the use of a non-walking
baseline opens of a new step past a
walking baseline that the whole
ensemble can play and then alter to
understand how the pattern has been
changed. As well, if a unit were to be
based on jazz styles from multiple
cultures, the students could learn the
emphasis of Afro-Cuban rhythms and
instrumentation when learning about
this piece.
This piece would be interesting to see
working with the music and English
department together. Because this
piece has many ties to art culture
through film, literature, and music, it
could be analyzed through many
different perspectives.
I believe this piece would need to be
played with an advanced band that
has been working with each other long
enough to maintain a fast paced
consistent tempo. Personally, due to
the long solo sections and the fast
paced repetition, I would personally
use this piece as an example of quick
chord changes in relation to how an
ensemble can grow. Rather than
having the students work with this
piece directly, I may keep it as an
example at first and focus on
repertoire that has a more even
division of instrumental focus.
 Listening Journals
Take Five by Paul Dave Brubeck - After touring Eurasia, Brubeck
Desmond Take Five ( Original became very interested in
Video) creating a jazz chart that
(Youtube) deviated away from the typical
4/4 pattern, common during
his time. Considering his
interaction with 9/8 meter, or
what can be referred to as
Bulgarian Meter, Brubeck
decided to also work with an
interesting meter and chose to
put Take Five into a 5/4
meter. This piece was first
released as a single in 1959
but really took off when it was
rereleased in 1961.
This work is in a 25 bar A-B-
A form. First, it starts at the
head with a focus on alto
saxophone, and then it
works its way to modal
improvisation around a
minute into the piece.
Following this, the drums
come in for a few minutes
before the group returns to
the head and ends with a
coda section.
This piece would be a great tool for
working on compound meter. If the
students hadnt experience compound
meter before or do not play in it
frequently, they could listen to the
piano and drum set patterns in this
work and pick up counting to five. As
well, if taught in class this meter would
be cleverly reinforced by the title of
the piece!