Sei sulla pagina 1di 25

UnitStudy:

THEBATTLEPAVANE
Susato/arr.Margolis

RichardLaprise
MaterialsandRehearsalTechniques
Spring2017

TABLEOFCONTENTS

THECOMPOSERS 2
Tylman[Tielman]Susato 2
BobMargolis 2

BACKGROUNDONTHEPIECE 3

ANALYSISOFTHECOMPOSITION 4
Form 4
MusicalElements 5
InstrumentConsiderations 6

STUDENTLEARNINGOBJECTIVES 9

TEACHINGSTRATEGIES 10
Creating 10
Responding 11
Performing 12

STUDENTMATERIALS 15
EssentialQuestions 15
Backgroundinfo 15
Glossaryofterms 16
BackgroundInformationQuiz 17
MaterialsforCompositionProject 18
MaterialsforListening/RespondingAssignments 21
MaterialsforPerformingAssignments 22
RubricforJournalResponses 23

BIBLIOGRAPHY 24

THECOMPOSERS

Tylman[Tielman]Susato
Susato (ca. 1510 ca. 1570) was a leading Renaissance
music publisher, composer, and instrumentalist activein
the southern Netherlands. At various timeshewasalsoa
calligrapher, and trumpeter, both at Antwerp Cathedral.
He was the major music publisher in the Netherlands
from 1543 to 1561, publishing musicofcomposerssuchas
Crecquillon, Josquin Desprez, Handl, Clement Jannequin,
Clemens non Papa, and Lassus. His editions include 19
books or motets, 3 booksofmasses,25booksofchansons,
and 11 Musyck boexken, from the third of which, alderhande Danserye (1551), a
collection of populardancetunesarrangedbySusato,fromwhichTheBattlePavaneis
taken.(Forney,2017)

BobMargolis

Bob Margolis (b. 30 April 1949) is a native New Yorker. He studied recorder with
Bernard Krainis and pursued the study of music at Brooklyn College before
transferring to the University of California at Berkeley, where he studied design. He
later returned to Brooklyn College, completing his Bachelor of Arts degree in speech
and television production in 1974. Margolis subsequently studied composition under
William Schimmel and Robert StarerandorchestrationwithArnoldRosner.Heearned
his Master of Arts degree from Brooklyn College in 1977. Bob Margolis is the owner of
ManhattanBeachMusic.(windrep.org)

BACKGROUNDONTHEPIECE

The Battle Pavane was originally


published in 1551 by Susato as part
of a collection of popular dance
tunes. Margolis arrangement for
band, completed in 1981, is
published by Manhattan Beach
Music and is approximately 3
minutesinlength.Thisgrade2piece
closely follows Susatos four-part
original andisoneofMargolismost
popular Renaissance arrangements
appearing on 30 state lists and
recommended by the Florida
Bandmasters Association as
significantliterature.

Apavaneisa16th-centuryItalian
court dance. Its popularity spread
throughout Europeasaslowstately
dance with a repetitive rhythmic
pattern in duple meter. It was often
pairedwithafasterdancelikeagalliardorasaltarello.

The Battle Pavanehasfourstrainsandislikelymoredramaticthantypicalpavanes


of the time period. The performance should be paced so that the tranquil opening
progresses evenly to the triumphant and very broad climax at the end. This
arrangement makes use of the various tonal colors that can be produced within a
youngbandincludingantiphonalpercussion.(Susato&Margolis,1981)

ANALYSISOFTHECOMPOSITION

Form

Section Measures Events

A 1-8 1st strain- Polyphonic brass and percussion


beginning atampvolume.Bbtonalityestablished
with a half cadence to end the strain. Pavane
rhythm of quarter and two eighths established
andcontinuesthroughoutpiece.

9-16 1st strain (repeated)- similar to strain 1 with the


addition of cl, bsn, str bs, and timp. Register
changes for some instruments and volume
increasestoforte.

B 17-24 2nd strain- Texture briefly changes with a


decrease in dynamics. Crescendos written in
partswithaPACinBbmajor.

25-32 2nd strain (repeated)- New texture and greater


dynamics. Different instrument families have
different dynamic markings to promote the
desiredcolor.

C 33-40 3rd strain- Thinly scored call and response


sectioncenteredaroundBbmajor.

41-48 3rd strain(repeated)-continuedthinscoringwith


newinstrumentgroups.

D 49-56 4th strain- Fuller orchestration with 16th note


now being used to increase energy. Still centered
around Bb major with percussion crescendo into
lastsection.Antiphonalcymbalsintroduced.

57-64 4th strain (repeated)- All performers involved


with many at ff or fff dynamic markings. Energy
mustsustain,orevengrow,tothefinalrelease.

MusicalElements
The Battle Pavane adheres to the typical harmony and rhythm of a Renaissance
pavane. The composition is in the key of Bb major with extensive use of tonic and
dominant harmony with the occasional use of the IV and vichords.Harmonicinterest
is createdwithsuspensionsoccurringthroughout.Themelodyismostlystep-wisewith
the most common leaps being a distance of a 3rd. The pavane rhythm is constant
throughout the composition with the most support provided by the percussion. Other
rhythms include whole, half, dotted quarter, quarters, single 8th, groups of four 8ths
notes, and four 16ths on the same pitch. Percussionist also need to perform dotted
eighthsixteenthnotecombinations.

As is typical ofpavanes,thispiece
is in 4/4 and Margolis emphasizes a
strict tempoof76beatsperminute.A
polyphonic texture prevails but a
variety of thin and thick scoring,
like-instrument choirs and small
consorts, and creative use of
percussion instruments occur
throughout. Dynamics range from
p-fff with extreme care given to
which instrument families receive
which marking. The change of
textures, dynamics, and
instrumentation help to create
variation between repeated strains.
The style is consistent with
Renaissance pavanes with mostly articulated rhythms. Margolis avoids common
Italian musical terms and instead gives extensive instructions in English such as
sustained,accented,warm,ormajestic,throughoutthecomposition.

InstrumentConsiderations
Margolis notes that the piccolo, Eb clarinet, and string bass parts are optional. He
also provided ample cross-cuing to promote a successful performance by smaller
bands.

This arrangement calls for eight percussionists but can successfully be performed
with as little as four players. Margolis suggests parts 1, 2, 3, and 4 be covered when
only four performers are available, parts
1, 2, 3, 4, and 5 when five are available, 1,
2, 3, 4,5,andtimpaniwhensixperformers
are available, and parts 1, 2, 3, 4, 5, 6, and
timpaniwithsevenplayers.

Instruments are listed in score order with


theirwrittenrangesgiven.

Instrument Range AdditionalConsiderations

Piccolo C5-F6 Only plays after m. 41- student could play flute for
thefirsthalf.

Flute(1&2) F4-F6 Only4notesaredivisi

Oboe D4-F5 There are some independent oboe sections which


could be written for flute or muted trumpet if no
oboeisavailable

EbClarinet F4-D6 Does not play until m. 49 and part is doubled by


other instruments- Student could play Bb clarinet
forbeginningpart.Thispartisoptional.

BbClarinet E3-C6 Since parts are independent, strong players are


(1,2,&3) neededoneachpart.
Allpartsplayabovebreak
- 3rd part only at end with time to change
registers(notatechnicalpassage).
HighConlyatend

BassClarinet F3-C5 Often doubled or cued in other parts although the


bassclarinetcolorispreferedincertainsections.

Bassoon(1&2) Bb1-Eb4 Higher passages have optional lower part (tuba


cues)
Although 1&2 bassoons are listedinthescore,there
arenodivisiparts.

AltoSax(1&2) D4-G5 Doesnothaveanactiveortechnicallydifficultpart.


If additional cueing is needed for your band,
considercueingitinoneofthesaxophoneparts.
The saxophone section is treated as a choir and
oftenplaytogether.

TenorSax E4-F5 Similarconsiderationsasthealtos.

BaritoneSax D4-E5 Sometubacues(extendsrangetoC4)


If you do not havebassoonplayers,considercueing
theirpartsforamaturebaritonesaxplayer.

Trumpet C4-G5 Parts are very independent needing strong players


(1,2,&3) oneach.
- In particular, the 3rd part is very
independentattimes.
1stpartrequiresanon-specifiedmute
HnandtbncuesextendrangetoA3

Horn(1&2) A3-F5 Often, but not always, cued or doubled in other


parts

Trombone F2-F4 Since parts are independent, strong playersneeded


(1,2,&3) oneachpart.

Euphonium Bb2-D4 Trebleclefpartavailable.


Performs independent lines and serves as a bridge
betweenthetromboneandhornchoirs.

Tuba Bb1-D3 Treated equally in the polyphonic texture (not just


the root of the chord). Has 16th notes with optional
quarter notes is student cannot perform the more
active rhythm. If possible, consider having one
player perform parts of the last stain down an
octavetomatchrangeofthestringbasspart.

StringBass F2-Bb3 Always doubles tuba or bassoon. Only sounds an


octavelowerthanthetubainlaststrain.

Timpani F2,Bb2 Only2drumsneeded-noretuningduringpiece.


Usedasbothamelodicandpercussiveinstrument
Consider encouraging thestudenttochoosemallets
basedontheirroleintheensemble.
This is the only instrument thatreceivesadynamic
markingoffff.

Percussion Required instruments (part in parenthesis): (1)


(1-7) tenor drum and tambourine, (2) snare drum and
field drum, (3) cymbals- conductors left, (4)
cymbals- conductors right and bass drum, (5)
tam-tam and triangle, (6) orchestra bells, and (7)
tubularbells(chimes).
Care should be given so thatthetraditionalpavane
rhythmdoesnotoverpowertheensemble.
The cymbals in part 3 should be of standard
medium-weight and a heavy-weight pair should be
usedforthecymbalsinpart4.
Percussion should be given the important role or
pacing for this pieces with an emphasis on their
dynamicsasasection.
Several instruments are used for color and
decoration and should be heard clearly when
performed(dynamicsareappropriatelymarked).

STUDENTLEARNINGOBJECTIVES
Student learning objective are based on the 2014 National Music Standards with the
abbreviationCAusedforCommonAnchor.Seeresourcesforwebsitelink.
Creating

CA1&2:Imagine, Use standard notation to collaboratively compose melodies,


Plan,Make countermelodies, and/or rhythmic accompaniment in the
styleorwithcharacteristicsofaRenaissancepavane.

CA3:Evaluate& Using a class created rubric, evaluate and refine group


Refine compositions.

CA3:Present With their collaborative group, perform composition and


evaluatetheirperformance.

Performing

CA4Analyze& Using knowledge of the context of Renaissance dance music,


Interpret demonstrate through performanceand/orotherappropriate
means how this knowledge affects the interpretation and
performanceofTheBattlePavane.

CA5:Rehearse, Developandusestrategiestoimproveensembleperformance
Evaluate,Refine andevaluatetheeffectivenessofthesestrategies.

CA6:Present With attention and understanding of the composer's intent,


perform The Battle Pavane with accurate and appropriate
pitches,rhythms,dynamics,articulations,andstyle.

Responding

CA7&8:Select, Aurally identify Renaissancemusicanddefendchoicesciting


Analyze,Interpret musicalcharacteristicsandcontexts.

AdditionalSLOs

Studentswillbeable Definecomposition-relatedterms
to Givebackgroundinformationrelatedtothecomposition
PlayaBbmajorscale

TEACHINGSTRATEGIES

Creating
1.Givestudentstheinstructionsforthisproject:

Many composers, like Susato, come up with a melody before writing harmony,
countermelodies, accompaniment, etc. You are going to travel back in time to the
Renaissance where you are an apprentice of Susato. He wants your group to pick 1
out of the 4 melodies from the 4 strains of The Battle Pavane and compose any
combination of a melody, countermelody, rhythmic accompaniment, etc. to go with
it. He wants you to perform your composition by the end of thisweek.Eachmember
of your group must contribute to the composition and must play a part in the
performance. Be creative, but remember, you are a composer from the Renaissance
andyourmusicshouldreflectthat.HowwillyourcompositionimpressSusato?

2. As a class, create a rubric to be used as aself-assessmentforthisproject.Criteria


and the expectations/standards for a 1-4 rating scale should beguidedbytheteacher.
Appropriate criteria may include creativity, collaboration, stylistically correct,
performance,presentationofmanuscript,grouporganization,musicality,etc.

3. In groups of 3 or 4, have students choose1ofthe4melodystrainsfromTheBattle


Pavane and have them begin the composition project. Give students ample time to
complete the project and refer them to their rubric periodically to encourage them to
refinetheirwork.

4. Have students perform their compositions for the class. Using applicable criteria
fromtheclass-createdrubric,havestudentspeer-assesstheperformances.

5. Following the performances, have students complete a self-assessment using the


original class-created rubric and then, as homework, have them reflect using the
followingprompts:

Whatwentwell?Why?

Whatcouldhavegonebetter?How?


10


Whatdidyoulearnaboutcomposition?

Whatdidyoulearnaboutyourselfwhileworkinginthisgroup?

Howdidyourgroupcomeupwithcreativeideas?

Howdidyoucometodecisionsonwhatideastouse?

Howdidyourefineandimproveyourcomposition?

Howdidyouknowyourcompositionwascomplete?

Whatelsedidyoulearn?

Responding
1.Havestudentsbreakupintogroupsof3-4.
While playing excerpts of authentic-based recordings of Renaissance music, have
studentswritedownallcharacteristicsthattheyhear.

2. Have students share responses and record the most accurate answers (based on
theteachersdiscretion)onaT-chartsimilartotheonethatfollows.

Characteristics

Renaissance NotRenaissance

3. Play more excerpts of Renaissance music and highlight the characteristicslisted


in the T-chart while bringing attention to the various contexts of the music (dance,
church,etc.).Allowstudentstoaddtotheirlistsasneeded.


11

4.Havestudentsquicklychangegroupmembers.
Give students the opportunity to hypothesize what characteristics are present in
musicthatisnotfromtheRenaissance.
Then, plays a series of non-Renaissance music and have students write down
characteristics they hear in their T-charts that contrast with their Renaissance
column.

5. Individually, have students identify musical examples as being characteristic of


Renaissance or not Renaissance music andhavethemdefendtheirresponsesbasedon
theinformationintheirT-charts.

Example1: Why:
RenaissanceNotRenaissance

Example2: Why:
RenaissanceNotRenaissance
Etc.

6.Havestudentsreflectontheactivitybyansweringthefollowingjournalprompts:

HowdoesunderstandingthecontextofRenaissancemusicchangehowyoulistento
if?

Whydoyouthinkcharacteristicsofmusichavechangedovertime?

Whatdidyoulearn?

Performing
1. Usingtheknowledgecreatedintherespondingactivity,havestudentsdiscussasa
class how they can apply the characteristics and style of Renaissance dance music to
their performance of The Battle Pavane. These ideas should be recorded by the
students.

2. Audio record the ensembles performance of The Battle Pavane (whole piece or a
section). Have students evaluate their performancecitingspecificelementsrelatingto


12

accuracy and style. Students should then work in their sections tocreatestrategiesto
improvetheirperformancebasedontheircritiques.

Critiques Strategiesforimprovement

3. The teacher should collecttheirsuggestionsandreviewtheirresponsesbeforethe


next rehearsal and selectthestrategiesthathavethemostpotentialforsuccess.These
strategiesshouldbeincludedintherehearsalplan.

4.Duringtherehearsal,trysomeofthestudentssuggestedstrategiesandhavethem
evaluate the effectiveness of the approach. Conclude this activity with the following
journalprompts:

Howdoesunderstandingthecontextandstyleofthemusicinformperformance?

Howdoperformersinterpretmusicalworks?

Howdomusiciansimprovethequalityoftheirperformance?

Whydidsomerehearsalstrategiesworkbetterthanothers?

Whatdidyoulearn?


13

SUGGESTEDLISTENINGS

Composer/Arranger Composition

ThoinotArbeau/arr.Margolis BelleQuiTiensMaVie

PierreAttaignant/arr.Margolis Fanfare,Ode,andFestival

MichaelPraetorius/arr.Margolis Terpsichore

RonNelson CourtlyAirsandDances

JanBach PraetoriusSuite

GiovanniGabrieli Anybrassensemblepiece,Canzon,
SacraeSymphoniae

TielmanSusato/arr.MichaelWalters TwelveDancesfromtheDanserye

GuyWoolfenden IllyrianDances

RESOURCES

TeachingMusicThroughPerformanceinBand,Vol1
RichardMiles

GuidestoBandMasterworks,Vol.2
RobertGarofalo

TheNationalStandards
http://www.nafme.org/wp-content/files/2014/11/2014-Music-Standards-Ensemble-Str
and.pdf

SmartMusic
www.smartmusic.com


14

STUDENTMATERIALS

EssentialQuestions
Howdoesunderstandingthecontextandstyleofthemusic
informperformance?

Howdomusicianscomeupwithcreativeideas?

Howdomusiciansimprovethequalityoftheir
compositions?

Howdoesunderstandingthecontextofmusicchangehow
youlistentoif?

Howdomusiciansimprovethequalityoftheirperformance?

Backgroundinfo

Tylman[Tielman]Susato
Susato (ca. 1510 ca. 1570) was a leading Renaissance
music publisher, composer, and instrumentalist activein
the southern Netherlands. At various timeshewasalsoa
calligrapher, and trumpeter, both at Antwerp Cathedral.
He was the major music publisher in the Netherlands
from 1543 to 1561, publishing musicofcomposerssuchas
Crecquillon, Josquin Desprez, Handl, Clement Jannequin,
Clemens non Papa, and Lassus. His editions include 19
books or motets, 3 booksofmasses,25booksofchansons,
and 11 Musyck boexken, from the third of which, alderhande Danserye (1551), a
collection of populardancetunesarrangedbySusato,fromwhichTheBattlePavaneis
taken.


15

BackgroundonthePiece
A pavane is a 16th-century Italian court dance. Its popularity spread throughout
Europe as a slow stately dance with a repetitive rhythmic pattern in duple meter. It
was often paired with a faster dance like a
galliardorasaltarello.

The Battle Pavane, originally published by


Susato in 1551, has four strains and likely more
dramatic than typical pavanes of the time
period. The performance should be pacedsothat
the tranquil opening progresses evenly to the
triumphant and very broad climax at the end.
This arrangementmakesuseofthevarioustonal
colors that can be produced within a band
includingantiphonalpercussion.

Glossaryofterms
Antiphonal- musicperformedbytwoormoregroupstypicallyonoppositesidesof
theperformingspace.

Majestic- implyinggrandeur;broadandstately.

Pavane- astatelydanceinduplemetercommonduringtheRenaissance.

Strain- asectionofmusiccontainingoneormorephrases.

Suspension- prolongingaconsonantnotewhiletheharmonychanges,typically
makingitdissonant,beforeresolvingtheheldnote.

Tenuto- anoteheldforitsfullvalueoftenwithasenseofweight.


16

BackgroundInformationQuiz
Name______________________________________
TrueorFalse
Ifthestatementiscorrect,circleTRUE,ifthestatementisincorrect,circleFALSEand
rewritetheinformationsothatitiscorrect.

TRUE FALSE 1.Musicperformedbytwoormoregroupstypicallyonopposite


sidesoftheperformingspaceisconsideredantiphonalmusic.

TRUE FALSE 2.Majesticimpliesmysticalormagical.

TRUE FALSE 3.Astrainisasectionofmusicwithoneormoreinstruments.

TRUE FALSE 4.Asuspensionisprolongingaconsonantnotewhiletheharmony


changesbeforeresolvingtheheldnote.

TRUE FALSE 5.Atenutonoteisplayedshortwithasenseoflightness.


ShortAnswer-printneatlyandusethebackofthepageifmorespaceisneeded.
6.BesidesbeingaRenaissancecomposerandinstrumentalist,whatotherimportant
careerdidSusatohave?Whydoyouthinkthiscareerwasimportantduringthe1500s?

7.CitingspecificcharacteristicsofaRenaissancepavane,describewhyTheBattle
Pavanebelongsinthisgenre.


17

MaterialsforCompositionProject

Instructions
Many composers, like Susato, come up
with a melody before writing harmony,
countermelodies, accompaniment, etc.
You are going to travel back in time to
the Renaissance where you are an
apprentice of Susato. He wants your
group to pick 1 out of the 4 melodies
from the 4 strains of TheBattlePavane
and compose any combination of a
melody, countermelody, rhythmic
accompaniment, etc. to go with it. He
wants you to perform your composition by the end of this week.Eachmemberofyour
group must contribute to the composition andmustplayapartintheperformance.Be
creative, but remember, you are a composer from the Renaissance and your music
shouldreflectthat.HowwillyourcompositionimpressSusato?

Strain1


18

Strain2

Strain3


19

Strain4

JournalPrompts:
Whatwentwell?Why?

Whatcouldhavegonebetter?How?

Whatdidyoulearnaboutcomposition?

Whatdidyoulearnaboutyourselfwhileworkinginthisgroup?

Howdidyourgroupcomeupwithcreativeideas?

Howdidyoucometodecisionsonwhatideastouse?

Howdidyourefineandimproveyourcomposition?

Howdidyouknowyourcompositionwascomplete?

Whatdidyoulearn?


20

MaterialsforListening/RespondingAssignments
Characteristics

Renaissance NotRenaissance

IdentifymusicalexamplesasbeingcharacteristicofRenaissanceornotRenaissance
musicanddefendyouresponsesbasedontheinformationinyourT-charts.

Example1: Why:
RenaissanceNotRenaissance

Example2: Why:
RenaissanceNotRenaissance

Example3: Why:
RenaissanceNotRenaissance

Example4: Why:
RenaissanceNotRenaissance

Example5: Why:
RenaissanceNotRenaissance

JournalPrompts:
HowdoesunderstandingthecontextofRenaissancemusicchangehowyoulistentoif?

Whydoyouthinkcharacteristicsofmusichavechangedovertime?

Whatdidyoulearn?


21

MaterialsforPerformingAssignments

Instructions
Basedontherecordingofourperformance,givecritiquesorthingsweneedtoworkon
andthenasuggestiononhowwecanimproveforeach.
Critiques Strategiesforimprovement

JournalPrompts:
Howdoesunderstandingthecontextandstyleofthemusicinformperformance?

Howdoperformersinterpretmusicalworks?

Howdomusiciansimprovethequalityoftheirperformance?

Whydidsomerehearsalstrategiesworkbetterthanothers?

Whatdidyoulearn?


22

RubricforJournalResponses

Criteria MeetsExpectations AlmostThere ExtraHelpNeeded


(4pts) (2-3pts) (0-1pts)

Thoroughness Answeredmostor Answeredsome Answeredfewor


allpartsofthe partsofthejournal nopartsofthe
journalassignment assignment journalassignment

Observationand Showedconsistent Showedsome Showedlittle


Insight criticaland criticaland criticaland
creativethought creativethought creativethought
andreflection andreflection andreflection

Organizationand Entrieswere Entrieswere Entrieswere


Clarity turnedinontime, turnedinontime, turnedinlateor
wellorganized,and generallywell areunorganized
ideaseffectively organized,and andideas
communicated mostideas communicated
throughout effectively poorly
communicated

Growth Studentshows Studentshows Studentshow


expectedgrowthin growthinthetopic minimalorno
thetopicwithan withabasic growthwithlittle
excellent understandingof understandingof
understandingof thematerial thematerial
thematerial


23

BIBLIOGRAPHY

BobMargolis.(n.d.).RetrievedMarch27,2017,from
http://www.windrep.org/Bob_Margolis

Forney,K.(2017,March23)Susato,Tylman.GroveMusicOnline.OxfordMusicOnline.
OxfordUniversityPress.Retrievedfrom
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/27146>.

Miles,R.,&Blocher,L.(2010).Teachingmusicthroughperformanceinband.Volume1/
compiledandeditedbyRichardMiles;[contributionsby]LarryBlocher...[etal.].(2nd
ed.).Chicago:GIAPublications.

Susato,T.,&Margolis,B.(1981).Thebattlepavane/TielmanSusato;arrangedfor
concertbandbyBobMargolis.Brooklyn,N.Y.:ManhattanBeachMusic.


24

Potrebbero piacerti anche