Teacher Guide

[Secondary Unit]

Alligator by:michael
Alley Daugherty

Matt Shea
Spring 2017
MUSIC 670
 TABLE OF CONTENTS

Unit Introduction ... 2

-8
Score Analysis 3

Concept Lessons ..... 9-16

0-11
Activity 1 ... 1

2
Activity 2 ... 1

Activity 3 ....13

4-15
Activity 4 .. 1

Activity 5 ...16-17
Assessment .18-20
Warm-Ups 21-22
Resources . 23
Student Guide . 24-28

1
 Unit Introduction

Title: Alligator Alley

Composer: Michael Daugherty
Publisher: American Composers Forum
Grade Level: 3

Instructional Objectives
1. By the end of the 6-week unit, students will be able to identify, count, and perform
syncopated rhythms in several different meters (4/4, , 5/4, 6/8).
a. MU:Pr4.1.E.Ia Explain the criteria used to select a varied repertoire to study
based on an understanding of theoretical and structural characteristics of the
music, the technical skill of the individual or ensemble, and the purpose or
context of the performance.
2. By the end of the 6-week unit, students will be able to identify the Dorian modal scale
and compose a melody using it.
a. MU:Pr4.1.E.Ia Explain the criteria used to select a varied repertoire to study
based on an understanding of theoretical and structural characteristics of the
music, the technical skill of the individual or ensemble, and the purpose or
context of the performance.
3. By the end of the 6-week unit, students can play melodic figure both in unison and in a
round with correct pitches, articulations and dynamic accents.
a. MU: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.
4. By the end of the 6-week unit, students will be able to present 2 minutes on background
of the history of the piece including something about environmental conservation of the
American Alligator.
a. Additionally, they will write their own program notes narrating the programmatic
hunt of the Alligator.
b. MU:Cn11.0.T.Ia Demonstrate understanding of relationships between music and
the other arts, other disciplines, varied contexts, and daily life.
5. By the end of the 6-week unit, students will be able to compose their own warm-up
using notation software that focuses on challenging parts in their music and
perform accurately with at least 90% execution.
a. MU:Cr3.2.E.Ia Share personally-developed melodies, rhythmic passages, and
arrangements individually or as an ensemble that address identified
purposes.

2
Score Analysis
1. Musical Elements
a. MELODY: The Alligators theme in 5/4 time presents a syncopated motive of
a major 2nd that is passed between sections. Chromatic fragments make up
thematic material amongst the flutes, oboes, and clarinets in mm.44-51. The
Hunters Theme is presented as a melodic motif that gets repeated, each time
either by a step higher or lower than the original.
b. HARMONY: The piece is set in Dorian mode, with the themes moving along
many different Dorian keys.
c. RHYTHM: Metronome Marking: Quarter = 138 then speeds up to 148bpm in m.
101. The changing meter will challenge and improve those who are weak in
subdivision. The eighth note remains constant in meter changes. The first meter
change occurs in measure 6. The syncopated Alligators theme gets passed around
the woodwind section beginning with the bassoons and eventually is mimicked
the in percussion (marimba, vibr.). Division of the beat is set in eighth-note
groupings:

The barred eighth-note groupings give the meter more of a whimsical feel. There
is almost a lilt in the measure with the extra beat because it is supposed to
represent the tail of the alligator (an extra appendage). The grouping also prepares
the player of switching between 6/8 and a 4/4 bar. The weight is placed on
different eight notes if it was all in the same time signature like in mm.148-149. A
rhythmic ostinato is presented in the bassoons at measure 88 and oscillates
between octave As with 8th notes. It plays an accompanying role to the melody
being presented by the upper woodwinds.

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 d. FORM/STRUCTURE:

Section Measures Event and Scoring

Intro 1-5 Percussion crashes and whips- Introduces

Alligator

A 6-15 Bassoons present thematic material:

Alligators theme

16-43 Alligators theme is passed around

woodwinds, brass has syncopated accented
note to align with thematic material

Transition 44-51 Chromatic passages in upper woodwinds,

bassoon solos over the top, lyrical

B 52-63 Introduction of the Hunters theme

presented by saxophones and high brass

Transition 64-67 Bongo/Conga solo to bring us back to

Alligators theme

A 68-77 Upper woodwinds play Alligators theme

78-87 All woodwinds plus high brass have the

Alligators Theme, low brass have
syncopated accents

88-95 Hunters theme comes back in flute/oboe,

bassoons present rhythmic ostinato

B 96-100 Layering of the hunters theme in the

woodwinds

101-110 Bassoons present the Hunters theme (role

reversal?)

111-118 Bari Sax echoes the Hunters theme, high

woodwinds layered on top

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 119-126 Solo trumpet valiantly soars over the top
presenting Hunters theme, brass accents
the syncopated rhythm

127-140 Trumpet tutti playing the same theme,

theme layered

Transition 141-144 Everyone rests with percussion crashing,

big swell long caesura

Coda 145-154 Mixed meter delicate section trickles down

through the ensemble and almost every
getting the grouped eighth notes

155-159 Big hit section block chords on big beats

1 & 3, swell into ffp crescendo

160-165 Whip crack and final statement of the

Alligators theme reassures the audience
that the alligator will live on in our hearts.

e. TIMBRE: The woodwind section is responsible for the Alligators theme.

Because the bassoons present the first theme, it is immediately colored as
whimsical and cartoonistic. The brass section is responsible for the Hunters
theme. Because brass instruments naturally cut through the texture, they are very
symbolic of hunters/poachers cutting through the Everglades of Florida to hunt
down the prehistoric reptile that is the alligator. The percussion section is
responsible for enhancing the cartoonistic or the primitive ambiances as presented
by the juxtaposed wind sections.

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 2. Composer
Born in 1954 in Cedar Rapids, Iowa, Daugherty is the son of a professional jazz and
country-western drummer father and an amateur musical theater singer and tap dancing mother.
He was the oldest of five brothers, all professional musicians. At age eight, Daugherty began
teaching himself keyboard, mimicking the familys player piano, which followed with ten years
of piano lessons. He was fascinated with Bachs inventions and fugues and learned jazz and pop
tunes by ear from the radio and records. Around age ten, his father taught him rock and jazz
drumming. He also studied tap dancing and painting and considered becoming a cartoonist.

He studied music composition at the University of North Texas (1972-76), the Manhattan School
of Music (1976-78). A Fulbright Fellowship allowed Daugherty to study computer music at
Pierre Boulezs IRCAM in Paris (1979-80). Daugherty received his doctorate from Yale
University in 1986 where his teachers included Jacob Druckman, Earle Brown, Roger Reynolds,
and Bernard Rands. During this time he aslo collaborated with jazz arranger Gil Evans in New
York, and pursued further studies with composer Gyrgy Ligeti in Hamburg, Germany
(1982-84). After teaching music composition from 1986-90 at the Oberlin Conservatory of
Music, Daugherty joined the School of Music at the University of Michigan (Ann Arbor) in
1991, where he is Professor of Composition and a mentor to many of todays most talented
young composers.

Inspired by both Dvork and Ives, his music often finds inspiration in the people (e.g., Abraham
Lincoln, Georgia OKeeffe, Jackie Kennedy, Leopold Stokowski, Rosa Parks), places (Detroit,
Las Vegas, Niagara Falls, Sunset Strip) and popular icons (Elvis Presley, Liberace, Route 66,
Superman) of the United States. He is an avid collector of 1940-60s Americana. Additional
compositional influences include Bach (counterpoint), Mahler (orchestration), Thelonious Monk
(motivic construction), Gil Evans (writing for winds, and Esquivel (orchestration).

3. Composition
Alligator Alley is the nickname for the east-west stretch of Interstate 75 between Naples and
Fort Lauderdale that crosses through the Florida Everglades National Park. This park is home to
many endangered species, one of them being the American alligator. One might see an alligator
along the roadside when driving along this stretch of road. Male alligators can grow up to 16 feet
in length and females can grow up to 10 feet and can reach weights up to 800 pounds. Removed
from the US Fish and Wildlife list of endangered species in 1987, the American alligator is still
on constant watch by the national parks services, as its habitat is threatened by illegal poachers,
industrial contaminants, and housing and commercial developments.
Alligator Alley invokes two themes: the first, called the alligators theme and is played at the
beginning in 5/4 time with bassoons and evokes the four legs and tail of the creature as it slithers

6
through the Everglades; the second is called the hunters theme in 4/4 time, introduced by the
trumpets, horns, and alto saxophones. This theme is heavily syncopated with many accents and it
reminds us of the hunters and poachers who trap and kill the alligator for profit. This piece
includes sounds of an alligator snapping its jaws with two pieces of wood struck together.
Alligator Alley celebrates this noble beast that has remained largely unchanged from prehistoric
times.

4. Historical Perspectives
Alligator Alley was commissioned by the American Composers Forum for the BandQuest
middle-level music series. The first performance was given by the Slausen Middle School Band,
conducted by Michael Daugherty, at Slausen Middle School, Ann Arbor, Michigan, on May 14,
2003. Daugherty worked in residence with band director Gene Bartley and students at Slausen
Middle School in Ann Arbor, Michigan, to create a work tailored to young musicians interests
and abilities. On the surface, the music tells a vigorous and humorous story. Daugherty also
created Alligator Alley to bring attention to the plight of threatened and endangered animals all
over the world. Daugherty dedicated this piece to his daughter Evelyn (named after his mother),
who was then in middle school and who could play a mean bassoon. It has quickly gained
popularity as both a bassoon feature and Daughertys only work accessible to younger bands.

5. Technical Considerations
This piece is best suited for an advanced middle level ensemble or developing high school
ensemble. The main theme of Alligator Alley is written in 5/4 time, but the piece also includes
4/4, 3/4, and 6/8 time, paying strict attention that the eighth note receives the subdivision. There
is no smaller subdivision than sixteenth notes.

The range for the flutes is on the high side going up to a G6. Work will need to be made with
very small apertures and fast air. The oboes should not have any range issues. The bassoons are
the feature of this piece and encompass a wide range on the instrument. Fortunately, there are no
sixteenth notes in their part. The highest note they play is G4 (G above the bass clef staff) and
will require proper half-hole and fingering set up. It is not a difficult speaking note on the
instrument, but it is one that will require control as the high register fluctuates between tending
flat (Eb-F) and sharp (F#-G). The ranges on the clarinet are very attainable with the proper
fingering and embouchure set up. Saxophones will be similar in that their notes are very
attainable with the correct fingerings, articulations and embouchure.

Throughout the woodwind Alligators Theme feature, the brass have syncopated accents that
align with the division of the melody. The brass section is featured in the larger B section of the
work. They come in with the Hunters Theme in 4/4 time. Trumpet range goes up to an A4 (A
above the treble clef staff), which may not be attainable for some developing players. Trumpets
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will require straight mutes (metal) and also has some solo sections. The glissando that occurs in
the second trombone part in measures 119-138 is challenging to perform and is only possible on
a trombone with an F attachment. The performer should start in 2nd position with the trigger
depressed (B natural) and quickly move to 4th position and release the trigger (G natural) so that
the pitch is secure and in tune. Baritone and tubas shouldnt have any issue with range.

There is a variety of percussion in this novelty piece. Percussion 1 includes whip to represent the
alligators jaws snapping shut, a soprano triangle to have a higher pitch so there is contrast
against the lower triangle, crash cymbals, and tambourine. Percussion 2 includes crash cymbals,
a lower pitched triangle, and tambourine. Percussion 3 requires a wood block on a table/stand
and the use of drumsticks, bongos with hand or drumsticks or congas with hands, triangle, and
maracas- one for each hand. Percussion 4 requires playing the bass drum only. There are optional
vibraphone and marimba parts as well.

6. Stylistic Considerations
It is in part this fascination with the vernacular that sets Daugherty's music apart. By using
sophisticated compositional techniques to develop his melodic motives combined with complex
polyrhythmic layers, he has created a style that is bursting with energy and truly unique.

To maximize the effect of this piece, special care should be taken when passing the themes
around the ensemble and focus should be given to those who enter with a motive that has not yet
been heard. The alligator theme is passed from the bassoons primarily around the woodwind
section and the trumpets pass the hunters theme around the brass section. The percussion
interjections add a primitive ambiance that enhances to how vicious alligator is perceived. The
congas/bongos, wood block, and maracas add a driving pulse to the hunt for the alligator and its
constant fight against poachers. Balance and blend is essential in this piece as to create holistic
brass and woodwind timbres. The upper ranges of the woodwinds should not detract from the
overall balance of the ensemble. Clarity by matching articulations is also of the utmost
importance in this piece due to unison rhythms and themes being presented by different sections
of the ensemble.

8
Concept Lessons

9
 Activity 1 - Technology Integration

1. Introduction/Purpose Statement - Briefly describe the purpose of technology integration

including: what technology is to be used; who will use the technology; how will it be
used; what learning objectives are being supported by use of the technology; why is
technology an appropriate choice to support student learning as opposed to using other
means of instruction.
Technology integration into the music classroom can enhance the overall musical
experience for each student and can be incorporated into each students practice sessions
as they learn how to problem solve and work smarter instead of harder. In my
classroom, I would like to incorporate music notation software, specifically
Noteflight.com, so that students can compose their own warm-ups that include
challenging elements as found in their music. Noteflight is website-based music notation
software that is free to use, although there are additional features that can be purchased.
Noteflight is user-friendly, it automatically saves work within the website and can be
accessed from any computer; that way, if a student doesnt have regular access to a
computer, he/she can access his/her saved compositions at school, at a library, or
anywhere else they are able, without having to start over. By learning to use this
program, students will not only gain the ability to compose their own warm-up exercises,
but also be introduced the tools to compose or arrange their own music. Incorporating
this software into the music-making process teaches students about the composing
process and combines two things that are relevant in their lives today, technology and
music. This technology would be preferred over composing by hand because of how time
consuming it is as well as how different everyones handwriting is; by using this
technology, it will streamline the composing process using standardized notation so the
content will be understood by as many people as possible.

The composition process would take place mainly outside of the classroom. When
the project is introduced, the teacher will have technology available in the classroom to
go through a brief tutorial of the basics of Noteflight, being sure to provide other
resources if they need/want additional help. Teacher will be available to make comments
or suggestions throughout the creative process. This assignment encompasses the
National Standard concepts of Creating, Performing, Responding, and Connecting.
Students will create (compose) their own warm-ups and perform them amongst the class.
During the process and after, student and teachers will respond and reflect on their work
and discuss any improvements if needed. Incorporating challenging parts of the music
within the warm-up allows students to break down their parts into more manageable
sections so they may master the music quicker. It is likely that some of the students will
have the same or similar parts in their music that are challenging and can then connect
and collaborate on a solution of how to overcome those challenges.

2. Product/process sample If creating an interactive webpage or podcast, provide an online

link where this may be viewed; if using technology for assessment purposes or digital
music production, then provide a scripted outline of the process the student will go enact

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to complete this assignment. https://www.noteflight.com
In order to create work that will be saved and can be re-accessed later, the user must first
create a free account. From there, creating a new score only requires a few steps and they
are as follows:
a. Once logged in to your free account, there is a button along the top toolbar that
says New Score with a plus sign. Click it.
b. You will be brought to a screen with a pop-up window that states: Start from
blank score sheet or Start by importing XML or MIDI files. Select the blank
score sheet and click OK.
c. The default score that pops up will have a grand staff with 4 blank measures and
the default instrument selected will be Piano. To change the instruments you work
with, there is a button along the top toolbar on the right side labeled Instruments
where you can add or subtract which instruments to include in your composition.
d. From there, users can click into blank measures and begin adding notes to their
musical compositions.
e. *There is an icon on the left that shows a dropdown menu of all of the different
palettes that the user can select to customize articulations, rhythms, dynamics, etc.
https://www.noteflight.com/guide < Here is a guide to using the program.
Includes FAQs and troubleshooting tips if there is more confusion.
f. Students may include notes and rhythms that may be challenging to them.
Attached is a warm-up I created that focuses on the syncopated rhythms in
Alligator Alley in Dorian mode.

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 Activity 2 - Art Integration (Pre-Assessment/Post-Assessment Tool)

Objective: Students will integrate with an art class and create construction paper alligators or
hunters after listening to Alligator Alley.
Students will present fill out a KWL for pre-assessment demonstrating what they know, what
they want to know from the unit, as well as a post-assessment of what they learned from studying
this piece of music.

Materials for Instruction:

Construction Paper
Markers
Scissors
Glue
Googly eyes
Paint

Activity: Students will create a visual art presentation of either the hunter or the Alligator to
display on the bulletin board of the band room.
On the backside (stomach) of the alligator, students will leave three spaces and fill out a
Know-What-Learned Chart where they will measure their own learning and knowledge.
Before beginning the Unit, students will fill out what they know about syncopation, modal
melodies, alligators, and programmatic music. In the second box they will fill out what they want
to learn from studying this piece and after the unit, will fill out what they learned.

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 Activity 3 - American Alligator Presentation

Objective:
Students will prepare and present two minute presentation of the American Alligator and the
conservation of its habitat telling of at least 5 things the student learned during the unit.

Student will prepare a presentation and show connection between music and another subject and
give detailed example about how the two subjects relate.

National Standard:
MU:Cn11.0.T.Ia Demonstrate understanding of relationships between music and the other arts,
other disciplines, varied contexts, and daily life.

Materials for Instruction

Students may use any sort of presentation software (Prezi, Powerpoint, Google Slides) or make a
presentation board for the final presentation.
Students may also explore other creative avenues such as making a rap, a playlist, a skit, etc.

Assessment: (See Assessment)

13
 Lesson 4 - Building a Dorian Scale

Objective: Students will learn to construct a Dorian Scale in several different keys and be able to
notate and perform correctly in several different keys.
Students will compose an 8 measure melody using three different meters using the D Dorian
scale.

Materials for Instruction:

C Scale
Instruments
Piano (for teacher demonstration)

Activity 1: Sing through the scale.

1. T will prepare the ear with the major tonic tonality on nonsense syllables.
a. Add solfege.
2. T will move to the second scale degree and scale up and down. Ss echo.

Activity 2:
1. Students will start on the tonic of the scale, move up one scale degree and play an entire
scale from re-re.
a. Students will try this in several different keys.
C Major - D Dorian
Bb - C Dorian
F - G Dorian
G - A Dorian
2. Students will then play Alligators Theme syncopated pattern on each scale degree of the
dorian scale selected.

14
Activity 3 - Students will be given manuscript paper and be told to compose an 8-bar melody
that uses the D Dorian Scale and has to stay within one octave starting and ending on concert D
that has at least three different meters included.

15
 Activity 5 -There Really is an Alligator Alley

Objective: Through reading the article, students will be able to locate Highway I-75, know how
it got its nickname, Alligator Alley, and understand its connection to the piece.

Students will write their own program notes depicting the hunt of the Alligator.

Materials of Instruction:
Individual copies or projected copy of the article: There Really is an Alligator Alley
Conservation Article

Sequence:
Activity 1 -
1. Students will read a one page article on the highway known as Alligator Alley in order
to understand the roads connection to the music.
2. Assign this article as well as the Program Notes to find out an actual highway in South
Florida is related to the music of the same name. It can be read together in class as by
volunteer readers, read in small groups, or used as a home reading assignment.
3. This reading will provide additional information to students working on the Write Your
Own Program Notes assignment.
Activity 2 - Reference the Conservation Article
1. Ask students to write program notes that describe the entire piece or just one section of a
piece. Students who work on this activity will need guidance, especially analyzing the
form and other distinctive characteristics of the music. They will also need to be directed
towards appropriate resources to discover historical or cultural influences of the pieces
they are studying. Some training in basic research techniques and use of the internet to
access websites may be required.

16
2. Consider collaborating with English, Communications, Writing, or Media teachers in
order to assign this activity as an interdisciplinary project that addresses the content and
standards of multiple classes.
3. Read program notes for Alligator Alley and other pieces and identify the kinds of
information contained within the examples. This can be done as a large group activity.
4. Used the template provided to research and categorize information about the selected
piece.
5. Use the information to write program notes for the selected piece.

17
 Assessment
Lesson 1 - Assessment may take place either online or as part of regular classes.
Students will undergo self-assessment and peer-assessment during the composing and revising
process before submitting it for final scoring by the teacher. The teacher and students will
collaborate on creating a rubric for scoring the project. The students will then score themselves
and each other with the rubric they helped make so they can find which criteria they are meeting
and which may need some improving. Grading themselves with a rubric they helped make, the
students will have more ownership for their own work. The following elements are included for
the warm up: long tones, scale patterns/arpeggios, rhythm work, articulation passages, dynamic
passages and a challenging section of their music. Students will be assessed over playability of
the warm-up amongst instruments, readability of the parts and overall application within the
classroom. After the project is completed, I would love to integrate my students work into the
classroom daily by selecting each one of their compositions and projecting it on a big screen for
the whole class to read through. That gives students pride in their work and creates a feeling of
inclusivity.
Activity 2 - Did the student create an alligator? YES ________ NO _________ (10 points)
5 points each for each box of the KWL filled out.
Students will fill out the chart on the back of their Alligators as a pre- and post- assessment tool
for the unit.

Know Already Want to Know What you Learned

Activity 3 - Students will be assessed with a class-collaborated rubric.

Beginning (2) Developing (4) Proficient (6)

Presentation Presentation is less Presentation is 1 Presentation is
Length than 1 minute and minute 30 seconds over two minutes
30 seconds and two minutes

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 Includes Learned 1-2 new facts 3-4 new facts 5 or more new
Information included learned facts learned
Presentation Referenced cross Gave cross Gave cross
included cross curricular subject curricular subject curricular subject
curricular example but no example and brief example and gave detailed
and example included example
Creativity Student did not Provided Was creative and
prepare supplementary exciting for the
supplementary presentation audience,
material for material. presentation
presentation. material was
included and
showed planning
and preparation.

Activity 4 - Student will be graded using a rubric for each scale prepared.

Categories Superior Secure Developing Beginning

Performance performance performance performance

Air Strong and Nice overall sound Fuzzy tone; not Blasting, unsteady
supported with lots but some notes using enough air, tone, not using
Support/Tone of air; not forced may be forced or some notes do not enough air to play
Quality pinched speak many pitches

Notes 0 2 missed notes 3 4 missed notes 5 6 missed notes 7+ missed notes

Rhythm/Temp Steady tempo Steady tempo, Inconsistent tempo, Inconsistent tempo

0 1 missed 2 3 missed 4 5 missed 6+ rhythms
o rhythms rhythms rhythms

Dynamics All written 2 3 missed 4 5 missed 6+ missed

dynamics were dynamics dynamics dynamics
played 0 - 1 missed
dynamics

Articulations All written 2 3 missed 4 5 missed 6+ missed

articulations were articulations articulations articulations
played

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Posture Straight back, Slouched back Slouching back, Back against chair,
sitting on edge of incorrect hand/arm slouched over,
chair, proper position. incorrect
horn/hand position instrument
position.

Given 2 selected major keys, students will be assessed on writing a dorian scale
with correct accidentals and notation as well as playing the scale ascending and
descending 1 octave. Students will also be asked to identify and notate a dorian
scale found within Alligator Alley with correct accidentals and notation.
Notated Correctly? YES ________ NO _________
On staff paper, students will notate the scale found within the piece.

Activity 5 - Class will peer-assess the program notes in a bracket style competition
to see whose will make it into the final program.
Program notes should amount to at least 500 words and should reference the
formal analysis included in the Student Guide as it relates to the characters
(Alligator - A section, Hunter - B Section, Battle - Layering, Coda - Victory).

Checklist:
500 words. Yes _________ No ____________ (10 points)
Includes all sections (4 points each) A __________ B___________ C __________
Coda _________

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 Warm-Up Strategies
(Alligator Alley Warm-Up)
(Individual Parts - AA Warm-Up)
1. Session 1 - Alligators Theme (Rhythmic)
a. Students will focus on melodic and syncopated theme from Letter A-C.
b. First, students will count the syncopated bar.
c. Students will clap the excerpt with accurate rhythms.
d. Students will sing and finger along with their part.
e. Students will finger and sizzle.
f. Students will play the excerpt.
2. Session 2 - Hunters Theme (Rhythmic)
a. Students will focus on melodic and syncopated theme from Letter C-D.
b. First, students will count the syncopated bar.
c. Students will clap the excerpt with accurate rhythms.
d. Students will sing and finger along with their part.
e. Students will finger and sizzle.
f. Students will play the excerpt.
3. Session 3 - Alligators Theme (Melodic)
a. Students will focus on melodic and syncopated theme from Letter D-E.
b. First, students will count the syncopated bar.
c. Students will clap the excerpt with accurate rhythms.
d. Students will sing and finger along with their part.
e. Students will finger and sizzle.
f. Students will play the excerpt.
4. Session 4- Hunters Theme (Melodic)
a. Students will focus on melodic, modal and syncopated theme from Letter E-F.
b. First, students will count the syncopated bar.
c. Students will clap the excerpt with accurate rhythms.
d. Students will sing and finger along with their part.

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 e. Students will finger and sizzle.
f. Students will play the excerpt.
5. Session 5 - Mixed Meter Theme
a. Students will focus on mixed meter theme from Letter F-end.
b. First, students will count the syncopated bar.
c. Students will clap the excerpt with accurate rhythms.
d. Students will sing and finger along with their part.
e. Students will finger and sizzle.
f. Students will play the excerpt.

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 Resources

https://composersforum.org/content/michael-daugherty
http://michaeldaugherty.net/index.cfm?id=133&i=3&pagename=works

Suggested Listening:

Cajun Folk Songs Frank Ticheli

https://www.youtube.com/watch?v=p2nR0v78K_E
Bayou Breakdown Brant Karrick
https://www.youtube.com/watch?v=pQ07hz_ybi0

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 Student Guide
Learning Goals
1. By the end of the 6-week unit, students will be able to identify, count, and perform

syncopated rhythms in several different meters (4/4, , 5/4, 6/8).

a. MU:Pr4.1.E.Ia Explain the criteria used to select a varied repertoire to study
based on an understanding of theoretical and structural characteristics of the
music, the technical skill of the individual or ensemble, and the purpose or
context of the performance.
2. By the end of the 6-week unit, students will be able to identify the Dorian modal scale
and compose a melody using it. Students will be able to name the other modal scales.
a. MU:Pr4.1.E.Ia Explain the criteria used to select a varied repertoire to study
based on an understanding of theoretical and structural characteristics of the
music, the technical skill of the individual or ensemble, and the purpose or
context of the performance.
3. By the end of the 6-week unit, students can play melodic figure both in unison and in a
round with correct pitches, articulations and dynamic accents.
a. MU: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.
4. By the end of the 6-week unit, students will be able to present 2 minutes on background
of the history of the piece including something about environmental conservation of the
American Alligator.
a. MU:Cn11.0.T.Ia Demonstrate understanding of relationships between music and
the other arts, other disciplines, varied contexts, and daily life.
5. By the end of the 6-week unit, students will be able to compose their own warm-up
using notation software that focuses on challenging parts in their music and
perform accurately with at least 90% execution.
a. MU:Cr3.2.E.Ia Share personally-developed melodies, rhythmic passages, and
arrangements individually or as an ensemble that address identified
purposes.

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Compositional Context

Alligator Alley is the nickname for the east-west stretch of Interstate 75 between Naples and
Fort Lauderdale that crosses through the Florida Everglades National Park. This park is home to
many endangered species, one of them being the American alligator. One might see an alligator
along the roadside when driving along this stretch of road. Male alligators can grow up to 16 feet
in length and females can grow up to 10 feet and can reach weights up to 800 pounds. Removed
from the US Fish and Wildlife list of endangered species in 1987, the American alligator is still
on constant watch by the national parks services, as its habitat is threatened by illegal poachers,
industrial contaminants, and housing and commercial developments.

Alligator Alley invokes two themes: the first, called the alligators theme and is played at the
beginning in 5/4 time with bassoons and evokes the four legs and tail of the creature as it slithers
through the Everglades; the second is called the hunters theme in 4/4 time, introduced by the
trumpets, horns, and alto saxophones. This theme is heavily syncopated with many accents and it
reminds us of the hunters and poachers who trap and kill the alligator for profit. This piece
includes sounds of an alligator snapping its jaws with two pieces of wood struck together.
Alligator Alley celebrates this noble beast that has remained largely unchanged from prehistoric
times.

Melodic/Harmonic/Technical Considerations for Practicing

Woodwinds
The range for the flutes is on the high side going up to a G6. Work will need to be made with
very small apertures and fast air. The oboes should not have any range issues. The bassoons are
the feature of this piece and encompass a wide range on the instrument. Fortunately, there are no
sixteenth notes in their part. The highest note they play is G4 (G above the bass clef staff) and
will require proper half-hole and fingering set up. It is not a difficult speaking note on the
instrument, but it is one that will require control as the high register fluctuates between tending
flat (Eb-F) and sharp (F#-G). The ranges on the clarinet are very attainable with the proper
fingering and embouchure set up. Saxophones will be similar in that their notes are very
attainable with the correct fingerings, articulations and embouchure.

Brass
Throughout the woodwind Alligators Theme feature, the brass have syncopated accents that
align with the division of the melody. The brass section is featured in the larger B section of the
work. They come in with the Hunters Theme in 4/4 time. Trumpet range goes up to an A4 (A
above the treble clef staff), which may not be attainable for some developing players. Trumpets
will require straight mutes (metal) and also has some solo sections. The glissando that occurs in

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the second trombone part in measures 119-138 is challenging to perform and is only possible on
a trombone with an F attachment. The performer should start in 2nd position with the trigger
depressed (B natural) and quickly move to 4th position and release the trigger (G natural) so that
the pitch is secure and in tune. Baritone and tubas shouldnt have any issue with range.

Percussion
There is a variety of percussion in this novelty piece. Percussion 1 includes whip to represent the
alligators jaws snapping shut, a soprano triangle to have a higher pitch so there is contrast
against the lower triangle, crash cymbals, and tambourine. Percussion 2 includes crash cymbals,
a lower pitched triangle, and tambourine. Percussion 3 requires a wood block on a table/stand
and the use of drumsticks, bongos with hand or drumsticks or congas with hands, triangle, and
maracas- one for each hand. Percussion 4 requires playing the bass drum only. There are optional
vibraphone and marimba parts as well.

Stylistic Considerations
It is in part this fascination with the vernacular that sets Daugherty's music apart. By using
sophisticated compositional techniques to develop his melodic motives combined with complex
polyrhythmic layers, he has created a style that is bursting with energy and truly unique.

To maximize the effect of this piece, special care should be taken when passing the themes
around the ensemble and focus should be given to those who enter with a motive that has not yet
been heard. The alligator theme is passed from the bassoons primarily around the woodwind
section and the trumpets pass the hunters theme around the brass section. The percussion
interjections add a primitive ambiance that enhances to how vicious alligator is perceived. The
congas/bongos, wood block, and maracas add a driving pulse to the hunt for the alligator and its
constant fight against poachers. Balance and blend is essential in this piece as to create holistic
brass and woodwind timbres. The upper ranges of the woodwinds should not detract from the
overall balance of the ensemble. Clarity by matching articulations is also of the utmost
importance in this piece due to unison rhythms and themes being presented by different sections
of the ensemble.

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Form/Structure Analysis

Section Measures Event and Scoring

Intro 1-5 Percussion crashes and whips- Introduces

Alligator

A 6-15 Bassoons present thematic material:

Alligators theme

16-43 Alligators theme is passed around

woodwinds, brass has syncopated accented
note to align with thematic material

Transition 44-51 Chromatic passages in upper woodwinds,

bassoon solos over the top, lyrical

B 52-63 Introduction of the Hunters theme

presented by saxophones and high brass

Transition 64-67 Bongo/Conga solo to bring us back to

Alligators theme

A 68-77 Upper woodwinds play Alligators theme

78-87 All woodwinds plus high brass have the

Alligators Theme, low brass have
syncopated accents

88-95 Hunters theme comes back in flute/oboe,

bassoons present rhythmic ostinato

B 96-100 Layering of the hunters theme in the

woodwinds

101-110 Bassoons present the Hunters theme (role

reversal?)

111-118 Bari Sax echoes the Hunters theme, high

woodwinds layered on top

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 119-126 Solo trumpet valiantly soars over the top
presenting Hunters theme, brass accents
the syncopated rhythm

127-140 Trumpet tutti playing the same theme,

theme layered

Transition 141-144 Everyone rests with percussion crashing,

big swell long caesura

Coda 145-154 Mixed meter delicate section trickles down

through the ensemble and almost every
getting the grouped eighth notes

155-159 Big hit section block chords on big beats

1 & 3, swell into ffp crescendo

160-165 Whip crack and final statement of the

Alligators theme reassures the audience
that the alligator will live on in our hearts.

Click Here for Practice Guide

(Print Your Individual Part)

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