Brittany

Barry
Gettysburg Area High School
HS Concert Band

Warm-Up & Rehearsal Friday, March 3rd

Essential Question(s): What is motif and how do composers use it to create and tie together
larger musical ideas? How can our knowledge of the composers use of motif enhance our
performance?

I. National Standards
Cr1.E.Ia Compose and improvise ideas for melodies, rhythmic passages, and
arrangements for specific purposes that reflect characteristic(s) of music from a
variety of historical periods.
Cr2.1.E.Ia Select and develop draft melodies, rhythmic passages, and
arrangements for specific purposes that demonstrate understanding of
characteristic(s) of music from a variety of historical periods studied in rehearsal.
Pr4.2.E.Ia Demonstrate, using music reading skills where appropriate, how
compositional devices employed and theoretical and structural aspects of
musical works impact and inform prepared or improvised performances.
Pr5.3.E.Ia Develop strategies to address expressive challenges in a varied
repertoire of music, and evaluate their success using feedback from ensemble
peers and other sources to refine performances.
Pr6.1.E.Ia Demonstrate attention to technical accuracy and expressive qualities
in prepared and improvised performances of a varied repertoire of music
representing diverse cultures, styles, and genres.
Pr6.1.E.Ib Demonstrate an understanding of expressive intent by connecting
with an audience through prepared and improvised performances.
Re7.2.E.IA Explain how the analysis of passages and understanding the way the
elements of music are manipulated inform the response to music.
Re8.1.E.Ia Explain and support interpretations of the expressive intent and
meaning of musical works, citing evidence the treatment of the elements of
music, contexts, (when appropriate) the setting of the text, and personal
research.
Re9.1.E.Ia Evaluate works and performance based on personally- or
collaboratively-developed criteria, including analysis of the structure and
context.
Cn11.0.T.Ia Demonstrate understanding of relationships between music and the
other arts, other disciplines, varied contexts, and daily life.

 II. Learning Outcomes
SW identify in the music the melodic motif stated at the opening of the piece (sol
do mi re fa mi) and mark it melody if they have it in their part
SW play melody after N in unison with consistent articulation and style
SW perform Emperata Overture beginning 4 after Rehearsal N, balancing the
ensemble to bring out important rhythmic and melodic motifs
SW perform the entirety of Emperata Overture, accenting and accentuating
Smiths use of 7/8 rhythmic motif
SW identify how Claude T. Smith uses melodic and rhythmic motifs in Emperata
Overture

III. Materials
Great Warm-Ups for Advancing Bands (Pearson)
Emperata Overture (Claude T. Smith)

IV. Glossary
Motif a short musical idea or fragment that is developed into other thematic
material

V. Procedures
1) SW take out their Warm-Up exercises
a. Concert Bb Scale
b. Technique Builder with articulation B
c. Tune from tubas up on concert Bb, humming the pitch before they play
d. Concert Bb Scale in 3-part round (Low Brass/Woodwinds,
Horns/Trumpets/A.Saxes, Clarinets/Flutes) in half notes
i. Discuss the balance pyramid
e. Bb Balance Builder
2) TW have first cornets, first horns, and first trombones play their first two bars in
time
3) TW have clarinets play melody at A
4) TW define and explain motif and how it can be used as a compositional technique
both melodically and rhyhtmically
5) All students with melody after N will play in unison, matching articulation and style:
a. Flutes/Clarinets 4 after N
b. Cornets at O
c. A.Sax 1/Horns at P
d. Bsn/T.Sax/Low Brass at Q
6) SW play as an ensemble at 4 after N until R, keeping ensemble balance in mind and
backing off when they do not have the melody
7) TW point out variations of 7/8 rhythm throughout the piece:
a. Cornets/Horn/Trombone at Opening
b. Clarinets at C
 c. Flutes/Clarinets/A.Sax/Cornets 2 before H
d. Flutes/Clarinets 4 before S
8) SW run through entire piece, accenting and accentuating 7/8 meter mixture
9) SW fill out exit ticket: How does Claude T. Smith use melodic and rhythmic motif in
Emperata Overture?

VI. Assessment
TW assess students accurate identification of melody by visually assessing their
notation of melodic sections in their music during lessons
TW assess students demonstration of consistent articulation and style of the
melody by aurally assessing their performance of the melody in unison
TW assess students demonstration of appropriate ensemble balance by aurally
assessing their performance from N to R
TW assess students demonstration of Smiths 7/8 motif by aurally assessing
their performance of Emperata Overture
TW assess students accurate identification of Smiths use of melodic and
rhythmic motif in Emperata Overture by collecting and reviewing students exit
ticket

VII. Continued Learning
Create-Your-Own motif and melodic variations
Form analysis of Emperata Overture
Rhythmic and melodic motifs in other pieces
Selections of piece for Repertoire Assessment

VIII. Honor Code
I affirm that I have upheld the highest principles of honesty and integrity in my academic
work and have not witnessed a violation of the Honor Code. Brittany N. Barry

Name: Name:

In Emperata Overture, how does Claude T. Smith use In Emperata Overture, how does Claude T. Smith use

Melodic motif? Melodic motif?









Rhythmic motif? Rhythmic motif?

Name: Name:

In Emperata Overture, how does Claude T. Smith use In Emperata Overture, how does Claude T. Smith use

Melodic motif? Melodic motif?









Rhythmic motif? Rhythmic motif?