MUS3440 Instrumental Methods I, Fall 2016

Unit Plan Project

Western Michigan University

Bradley Coleman
12-1-2016
 Table of Contents

Basic informationPage 2

Program with Program NotesPage 4

Formal AnalysisPage 6

Glossary of termsPage 15

Major Concepts or Skills.Page 17

Objectives for StudentsPage 19

Resources..Page 30

1
 Basic Information

American Heroes March, Mark Williams

The first piece I have picked is American Heroes March, composed by Mark Williams and

Published by Alfred Publishing Company. This piece is rated as an easy march at a Grade 1 .

This piece has a good mix of march and legato styles from the opening melody being the march

style needed and as the piece develops, a familiar melody of America The Beautiful emerges

with a legato style. Throughout the whole piece, it is in 4/4 time marked at 104 beats per

minute. The instrumentation is a pretty standard instrumentation with 10 Flute, 2 Oboe, 2

Bassoon, 6 1st Bb Clarinet, 6 2nd Bb Clarinet, 1 Eb Alto Clarinet, 2 Bb Bass Clarinet, 2 1st Eb Alto

Saxophone, 2 2nd Eb Alto Saxophone, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 2 F

Horn, 4 1st Bb Trumpet, 4 2nd Bb Trumpet, 3 Trombone, 2 Baritone T.C., 2 Baritone B.C., 2 Tuba,

2 Percussion (Snare Drum, Bass Drum, Crash Cymbols), 2 Timpani & Bells. The score that I

obtained is a full score that shows every part described in the instrumentation transposed to

their individual keys.

Amazing Grace, Frank Ticheli

The second piece I picked is Amazing Grace composed by Frank Ticheli, published by

Manhattan Beach Music. There is a bit of a discrepancy in the music world about what Grade

this piece is, but according to manhattanbeachmusic.com it is a Grade 3, which is an ambitious

goal for an 8th grade piece, but with enough preparation, it would be possible. Through the

whole piece, it is in time with the tempo indicated being 72-80 at the beginning, 63-69 at

measure 9 and averaging out around that tempo with fluxuations as the piece goes on because

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there are moments where the music pushes and pulls. Performance time of the piece is

generally about 5 minutes and 30 seconds in 3/4 the entire time. The instrumentation for the

pieces is 4 Flute 1, 4 Flute 2, 2 Oboe 1, 2 Oboe 2, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3,

3 Bb Bass Clarinet, 1 Bb Contrabass Clarinet, 2 Bassoon 1, 2 Bassoon 2, 3 Eb Alto Saxophone 1, 3

Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb

Trumpet 2, 3 Bb Trumpet 3, 2 F Horn 1, 2 F Horn 2, 2 Trombone 1, 2 Trombone 2, 2 Trombone

3, 3 Euphonium B.C., 2 Euphonium T.C., 5 Tuba, 2 Timpani, 5 Percussion. The score is a Full

score thats transposed for every individual instrument.

Into the Clouds!, Richard Saucedo

The final piece I have picked is Into the Clouds!, composed by Richard Saucedo,

published by Hal Leonard Corporation. This piece is rated at a grade 2 with its steady back and

forth between staccato/accented style and lyrical/legato style. The piece is marked at 160bpm

for the whole song in 3/4 time from the beginning to end taking about 2 minutes to get to the

end. The instrumentation is very similar to the other two pieces with 8 Flute, 2 Oboe, 2

Bassoon, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 1 Eb Alto Clarinet, 2 Bb Bass Clarinet, 2

Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone,

4 Bb Trumpet 1, 4 Bb Trumpet 2, 4 F Horn, 4 Trombone, 2 Baritone B.C., 2 Baritone T.C., 4 Tuba,

2 Percussion 1, 2 Percussion 2, 2 Mallet Percussion 1, 2 Mallet Percussion 2, 1 Timpani. The

score is a full score with transpositions for all of the individual parts.

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 Program with Program Notes

American Heroes March, Mark Williams

Amazing Grace, Frank Ticheli
Into the Clouds! Richard Saucedo

American Heroes March, Mark Williams

American Heroes March is not a typical march that one thinks of when a march is brought up. It

does have contrasting separated and lyrical sections, but it doesnt have the usual form, or roadmaps, of

a typical march. It does still bring a unique set of challenges with it, like changes in dynamics from very

loud to very soft in a short period of time to change between the two while keeping the tempo

consistent. There are some familiar melodies that will be easily recognizable, the main one that comes

back a couple of times is the first few notes from America the Beautiful that is used throughout the song

and a short fragment from The Star Spangled Banner.

Amazing Grace, Frank Ticheli

Amazing Grace came from a former slave trader who, when he was in the British Navy, was left

in West Africa on a voyage. On his way back on the next ship to England, the ship that he was on caught

a horrendous storm off the coast of Ireland and almost sank. When all this happened, he prayed for

himself and the cargo, and it somehow shifted to plug most of the hole that was in the side of the ship,

and they were able to drift to safety. It was this event that caused Newton to rethink his views of

slavery and his religion. He then wrote the words to his spiritual, Amazing Grace, when he was safely

home, reflecting the events that occurred on the ship as he was going back to England. Amazing Grace,

how sweet the sound. That favd (saved) a wretch like me! I once was lost, but now am found. Was

blind, but now I see.

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 This song presents many challenges because it is a very ambitious piece for an 8th grade group to

attempt because its not a typical middle school piece. Throughout the whole song, very rarely are there

more than 3 parts across the score that line up, especially in the middle section where the Amazing

Grace Melody fades away to a secondary melody. This is a piece that has a high demand for dynamic

contrast, many texture/thickness of sound changes, counting, all with a lyrical style all the way through.

The Amazing Grace melody is heard only twice in the piece, once at the beginning and at the end, first in

the Alto Saxophones, second in the Horn section with some help across the band, and finally coming to a

calm end with the saxophone solo playing the very last phrase leading into the final notes.

Into The Clouds!, Richard Saucedo

We end our concert with Into the Clouds!, a piece that is a joyful spirited piece that is demands

a lot of counting from the ensemble. There are points when its a call and response between the brass

and woodwinds, or the entire band doesnt play during the percussion feature, and in the high

woodwinds they have a short rhythm that they play for the first 16 measures where its easy to lose

track of where they are. Another thing that is needed from the ensemble is the overall ability to match

style because there is a rhythm that is passed all around the ensemble that is introduced at the very

beginning that starts in trumpets, moves to Clarinets, and then Trombones and they all have to be in the

same style for the biggest effect. There is also a call and response section where the woodwinds and

brass communicate with each other and they have to play the rhythms that they play in the same style

so that it sounds like they are communicating.

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 Formal Analysis

Americans We March, Mark Williams

All instruments in Eb Major (Timpani tuned F, Bb, Eb), key change to Bb Major at 48
4/4 time from beginning to end
Tempo marked at 104bpm
Measures 1-7
Opening Fanfare
Trills in high woodwinds
Bouncy theme in Clarinets, Alto Saxophones, Trumpets, and Horns
Response to theme in Trombones, Baritones, and Tuba
Unison notes 2 before 16 with suspension in Alto Saxophones
2 before 16 short percussion feature
Measures 8-15
Melody in Trumpets and Horns
Rhythmic and Harmonic support in all the other parts
Measure 11 is a rhythmic interjection from Flutes, Clarinets, Trombones, Baritones, Tubas
Measure 13 is a full ensemble transition into an America the Beautiful segment
Measures 16-19
America the Beautiful melody in Flute, Clarinet, and Horns
Measure 16 and 17 rhythmic interjection from Trumpets
Measure 19 chromatic line going down in Alto Saxophones and Horns
Measures 20-22
Similar bouncy melody in the Flutes, Clarinets, Alto Saxophones and Horn just legato
Measures 23-28
Exact same as the beginning with the trills, bouncy theme, and response.
2 before 23 instead of percussion feature, suspension in Alto Saxes and Trumpet 2
Measures 29-32
Texture thins out to only flutes, Clarinets, Horn, Percussion

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 Original melody in Flutes
America the Beautiful in Clarinets and Horn
Percussion playing for tempo
Measures 33-36
Same thing as 29-32, only difference is Trombone, Baritone, Tubas enter
Measures 37-40
Flutes, Clarinets, Alto Saxophones, Tumpet 1 have America the Beautiful melody
Trombones, Baritones, Tuba supporting chords
Measure 41-43
Same as Measures 20-22
Measures 44-45
Same as measures 1 and 2 in Eb Major
Measure 46-47
Entire band playing mostly on a stagnant F7 chord going into KEY CHANGE
Only movement outside of National Anthem quote is in Flutes and Trumpet 1
Measures 48-55
America the Beautiful theme in Flutes, Alto Saxes, Trumpets, and Bells in NEW KEY
Original bouncy theme in Clarinets, Horns, Trombones, Baritones, Tubas
Snare drum playing to keep time going consistently
Measures 56-59
Same as measures 16-19 in new key, with no Trumpet interjections
America the Beautiful melody in Flutes, Clarinets, Horns, Trombones, Baritones, Tuba
Original bouncy melody in Alto Saxes
Measure 60-63
Transition into 64 that is reminiscent of the beginning
Clarinet 2, Trombone, Baritone, and Tuba are augmentations of Flutes, Clarinets, Horns at 22
Measures 64-65
Reminiscent of the beginning with trills in the Flutes, Clarinet 1
Bouncy melody in Clarinet 2, Alto Saxophones, Trumpets, Horns, Trombones
Emphasis note in Tuba, all Percussion parts

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Measure 66
Finding the chords will be difficult
Bbm7 chord beats 1 and 2
CbMM7/BMM7 chord beats 3 and 4
Measure 67-69
Whole notes in Flutes, Clarinets, Alto Saxophones
Quote from America the Beautiful in Trumpets, Horns, Trombones, Baritones, Tuba
Measure 69/70
The rhythm will be difficult
16th note, 8th note, 16th note rhythm
Explained in Objective for Students

Amazing Grace, Frank Ticheli

Band in Eb Concert (Timpani tuned in Bb, Db, and Eb)
Tempo marked at 72-80bpm, changes mildly through the song, in 3/4 time
Bassoon part could be either Bass Clarinet 2 or a Baritone part
Dynamic Contrast through the whole piece
Entrances are mostly staggered
Same instruments may have different lines throughout the whole piece
Measures 1-9
All entrances are staggered, especially in the Flutes and Oboes
Suspended Cymbal roll in measure 3-4
Measures 9-16
Alto Saxophone Solo of Amazing Grace melody
Measure 10 Triangle part
Measure 11 Flute 1 and Clarinet 1 solo parts
Measure 15-16 Flute 1, Clarinet 2, and Clarinet 2 lines working together
Measures 17-24
Alto Saxophone Solo of Amazing Grace still happening
Trumpet 1 and Horn solo bell tone lines enter

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 Clarinet 1 Chromatic line must be brought out
Measure 19 Clarinet 2, Clarinet 3, Bass Clarinet, Bassoon, Euphonium, Tuba entrances
Measure 21-24 Clarinet 2, Alto Saxophones have melody with triplets
Measure 23 Tenor Saxophone, Horn 2, Euphonium Suspension lines bring out
Measures 25-32
Amazing Grace melody is moved to flutes, Oboe, Clarinet 3, Trumpet 2, Horn 1
Bass Clarinet, Bassoon, All Saxophones, Trumpet 1, Trombone, Euphonium, Tuba beat 2
entrance
Clarinet 2, Alto Saxophone 2, and Trombone 1 chromatic line with Concert Db is very important
Measure 28-29 Clarinet 1, Alto Saxophone, Trumpet 1 countermelody bring out
Measure 29 Flutes, Oboes, Clarinet 3, Trumpet 2, Horn 1 subdivided triplet rhythm
Measure 30-32 ascending line in Clarinets, Bass Clarinet, All Saxophones, Trumpet 1, Low Brass
Measures 33-38
Measure 34 Bass Clarinet, Tenor Sax, Horn 2, Euphonium moving 8th notes
Measure 36 Clarinet 1, Alto Sax, Trumpet 1 suspension
Measure 37 Flutes, Oboe 1, Clarinet 3, Horn 1 Triplets
Measure 37 Tenor Sax, Horn 2, Trombone 1 counter melodic line
Measures 39-42
Measures 39-40 Ascending lines in Clarinet 2, Bass Clarinet, Alto Saxophone 2, Tenor
Saxophone, Euphonium
Measure 41-42 modulation to Db Major
Measures 43-46
Flute 2, Oboe 2, Clarinet 1, Bassoon 1, Tenor Saxophone, Trumpet 2, Trombone, Euphonium 16th
note rhythm
Clarinet, Alto Saxophone beat 3 entrance very important
Measure 44 Flute 1, Oboe 1, Clarinet 1 16th notes are an important pick up
Measure 45 Flute 2, Oboe 2, Bassoon 1, Tenor Sax 16th notes as an echo
Measure 45 Alto Saxophone beat 3 entrance with resolution in measure 46
Measure 47-55
Pick up in Horn 1, Clarinet 1, Flute 1 lines are the same just a measure apart

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 Measure 52 Alto Saxophone 1 and 2 Trombone 1 beat 3 entrances are an important lead into
the next section a measure apart
Measures 56-63
Entire band modulates to Db for this whole section
Horn 1 and Tenor Saxophone, Clarinet 2, Flute 2, and Flute 1 are all the same lines just staggered
Measures 64-69
Ensemble modulation to F Major
Measure 64-65 Horn 2, Trumpet 2, Trumpet 1 bell tones
Measure 66 beat 3 Clarinet 1 and 2 entrances are important
Measure 67 Tenor Saxophone and Horn 1+2 lines are important
Measure 68 Alto Saxophone beat 2 entrances
Measure 70-73
Measure 70 Oboe 1 and 2, Clarinets 1 and 2 16th note rhythm
Measure 70 Horn 1 and Clarinet 3 lines are unique
Measure 71 Alto Saxophones and Vibraphone 16th notes on beat 4 leading into next section
Measure 72 Clarinet 2, Bassoon 1, Bass Clarinet, Baritone Saxophone, Trombone 2, Euphonium
ascending lines through measure 83
Measures 74-82
Same ascending lines as previous section
Oboe 1, All Trumpets, Trombone 1 added into the ascending lines at measure 80
Measures 83-90
Amazing Grace melody returns in Clarinets, Alto Saxophon 2, Trumpet 3 and Horn 1
Flutes, Oboes, Alto Saxophone 1, Trumpet 2 Countermelody
All other parts have emphasis note on beat 2
Measure 86 Flutes, Oboes, Alto Saxophone 1, Trumpet 1 have 8th and two 16th notes for
emphasis on a long note in the melody
Measure 90 Flutes, oboes, Alto Saxophone 1, Trumpet 1, and Horn 2 (in 89), and Horn 1 have
8th notes leading into the final high point
Measures 91-98
Staggered entrances will be important
Beat 1: Flutes, Oboe, Clarinets, Alto Saxophone, Trumpet

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 Beat 1 +: Bass Clarinet, Bassoon, Tenor Saxophone, Bari Sax, Trombone, Euphonium, Tuba
Beat 2: Trumpet 2+3 and Horns (very important for tempo)
Measure 92 Bass Clarinet, Alto Saxophone 1, Tenor Saxophone, Trombone, Euphonium, Tuba
triplets on beats 2 and 3
Measure 94-97 Flutes, Alto Saxophone 1, Horns counter melody
Measure 96 Clarinets 1+2, Alto Saxophone 2, Trumpet 3 triplets on beat 3
Measure 95 Trombone 2+3, Euphonium, Tuba ascending line
Measures 97-98 FULL ENSEMBLE DECRESCENDO!!!!!!!!
Measures 99-103
Pick up into 99 Alto Saxophone solo with the first few notes of the Amazing Grace melody with a
triplet on beat three and a drone on measure 101 on concert Eb
Clarinets, Bass Clarinet, Bassoon, Tenor Saxophone, Bari Sax supporting chords
Measure 101 Chords in Horns, Trombones, Euphonium, Tuba with Alto Saxophone Eb droning
101 beat 2: Color chord (difficult structure)
102 beat 2: DbMM7
103 beat 2: Am7sus
104 beat 2: Eb Major
Measures 104-106
Eb chord in Horns, Trombones, Euphonium, Tuba with Alto Saxophone drone
Flutes and Vibraphone notes beginning on beat 2 of measure 104
Clarinets, Bass Clarinet, and Bassoon holding Eb Chord
Flutes and Vibraphone land on open 5th Eb and Bb for the last note
Ending on a fermata Eb Chord that dissolves into nothing

Into the Clouds!, Richard Saucedo

In key of Concert Bb through whole song (Timpani tuned to F and Bb)
Tempo marked at 160bpm in 3/4 time
Two 16th notes and 8th note as it comes up throughout the song will tend to rush
Quarter note 8th note quarter note 8th note rhythm will also tend to rush due to syncopation

Measures 1-8

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 Flute, Oboe, Clarinet 1+2, Bells, Xylophone two 16th notes 8th note rhythm will rush
Bass Clarinet, Baritone, Tuba interjections are important
Melody in Alto Saxophones, Tenor Saxophones, Trumpets, Horns
Will tend to rush because it is quarter, 8th, quarter, 8th syncopation
Triangle ring through entire section
Measures 9-16
Same as last section
Addition of Clarinet 3, Trombone dotted half notes
Bari Sax joins in on the low voices interjections
Snare Drum and Bass drum with 16th notes and accents of the melody (respectively)
Crash Cymbals every two measures
Measures 17-20
Percussion feature other than Tuba/Baritone rhythms
Measure 20 pickups into measure 21 in the Clarinets
Measures 21-28
Clarinets and Bass Clarinet dotted half notes most of the time
Flute Solo pickups to measure 22 and right on measure 26
Snare Drum/Bass Drum continuing with 16th note patterns and accents of original melody
Measures 29-36
Similar to previous section
Clarinets syncopated rhythm in measure 29
Oboe Solo beat 2 of measure 29
Flute solo Beat 2 of measure 30
Strange harmonies in measure 32
Flute solo leads into measure 37
Measures 37-39
Clarinets Trumpets reference to original melody used as a transition
Measures 40-47
All parts playing except for Alto Saxophone and Horn are harmonic rhythmic support
Alto Saxophones and Horns have the melody in this section

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 Flutes and Oboe have an echo of the melody in pick up to measure 45
Measures 48-57
Back and forth between Woodwinds and Brass, Saxophones play the entire time
Unison syncopated rhythm in all the parts separated by two measures
Bells and marimba are playing constant 8th notes the whole time
Measures 56-57 are a short percussion break
Measures 58-65
Bassoon, Clarinet 3, Tenor Saxophone, Bari Sax, Trombone, Baritones all have the melody
Bass Clarinet, Alto Saxophones, Trumpets, Horns, Tubas all have interjections
Flutes and Oboes have constant 8th notes through the whole section, will tend to rush
Suspended cymbal roll into 66
Measures 66-73
MODULATION TO D-flat MAJOR!!!!!!
All parts except for trumpets and percussion hold a Db major chord (probably rewrite for
balance)
Db: Tuba, Trombone, Bari Sax, Tenor Saxophone, Bass Clarinet, Clarinet 2, Bassoon,
Oboe, Flute
F: Baritone
Ab: Alto Saxophones, Clarinet 3, Clarinet 1, Flutes
Trumpets have original melody in Db major
Percussion has a mixture of 8th notes, 16th note patterns, and accents of trumpets
At measures 69-71 Clarinet 3, Alto Saxophones, and Horns move notes with melody
Measures 74-79
Two 16th notes and 8th note rhythm returns in Flutes, Oboes, Clarinets, Bells, and Xylophone
Bell tone-like melody in Clarinet 3, Alto Saxophones, Tenor Saxophone, Trumpets, Horns,
Trombones, and Baritones
Beat 2 entrances in Bassoon, Bass Clarinet, and Tuba
Except for Flutes, Oboes, Clarinets, Bells, and Xylophones, all cut off on beat one of measure 80
Measures 80
Two 16th notes and 8th note rhythm returns in Flutes, Oboes, Clarinets, Bells, and Xylophone

13
 Bell tone-like melody in Clarinet 3, Alto Saxophones, Tenor Saxophone, Trumpets, Horns,
Trombones, and Baritones similar to before, but different at the end
Tuba, Bari Sax, Bass Clarinet, and Bassoon beat 2 quarter note entrances on beat 2
Measures 86-93
Dotted Half notes, 2 dotted quarter notes rhythm repeats twice in all parts except for Flutes,
Oboes and Clarinets
Original melody in Clarinets 1+2, Alto Saxophones, Trumpets, Trombones, and Baritones
in measures 91 and 91
The last 5 notes are all chords that will need some work
Cluster Chord, F7, B half-diminished 7, E Major, Bb Major
Percussion intensifies up to the last note through faster notes and crescendos
SUSPENDED CYMBAL CHOKE ON LAST NOTE!!!!!!

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 Glossary of Terms

Articulation The different types of ways to start and sustain a note.

Ascending Pitches of an instruments line going upward more than downward.

Beat/subdivision The individual units of time within the measure.

Bell tones Beginning of a note where the front end is accented and the first portion of sound is
sustained, quieted afterward.

Choke After a suspended cymbal roll, stopping the vibration of the cymbals with the hand.

Chromatic A line that moves in either mostly or all half steps instead of a scalular pattern.

Crescendo The volume of a line growing as the line progresses, sometimes to a high point of a piece.

Decrescendo The volume of a line getting lower as the line progresses.

Descending Pitches of an instruments line going downward more than upward.

Dotted half note Rhythm that consists of a total of three 8th notes.

Dotted quarter note Rhythm that consists of a total of five 8th notes.

Eighth note A basic unit of time.

Emphasis A note from either a single instrument or a group of instruments that is played after the
melody states, usually only a few notes, and then plays to reinforce the melodic line.

Feature (Percussion) A section of music where all of the instruments in the band stop playing, except
for one section of the band to put the emphasis on them. Usually percussion where its only percussion
playing.

Half note Rhythm that consists of four 8th notes.

Harmony The changes in the chords that are present in a section, related to tonality.

Interjection Usually only a short fragment, written in brass parts typically, to emphasize the melody.

Interval The distance between two notes, measured in half steps.

Key Change A change in the overall tonality of the piece, because the harmonic structure of the piece
changes either over a long period of time, short period of time, or on the drop of a dime.

Line A synonym for an individual instruments part.

Measure A basic subdivision of a piece of music, smaller than a section.

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Melody The most important line in a section of music, there is usually always a melody through the
entire piece.

Modulation A temporary change in tonality of the piece, usually only for a couple of measures, if not a
whole section.

Piece The summation of all the aspects of individual instruments parts that the audience will listen to.

Quarter note Rhythm that consists of two 8th notes.

Repeat When a section of music is played again, sometimes the exact same way as it was just done,
sometimes there are some drastic changes in how the section is played.

Rehearsal Markings Markings in the music that would divide up the piece that makes it easier for
rehearsal. Usually they mark different sections of the piece.

Resolve A term in music theory where after a suspension, there are no close intervals.

Rhythm Any type of subdivision of the beat.

Section A subdivision of a piece of music that has similar melodic, harmonic, or rhythmic content.
Usually broken up into phrases marked by rehearsal markings.

Solo A portion of the piece where there is only one player playing a line on an instrument.

Suspension A term in music theory where there is a very close interval that resolves to some type of
chord.

Theme The main melody in a section, it changes from section to section. There are usually about 3-5
themes in a piece.

Tonality The overall tonal center of the piece, usually related to what key the piece is in.

Transition The portion of music that is between two sections of music where one leads into the other.

Trills A term, mostly in high woodwinds, where there is a written note and the player goes between
the written note and the note above it fast.

Unison Where more than one section is playing the same line at the same time.

Whole note Rhythm that consists of eight 8th notes.

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 Major Concepts/Skills

American Heroes March, Mark Williams

Concept: March Style

Teaching Strategy: Listen to many marching and talk about the differences between a march
and a normal song (non-march), demonstrate, have the students do a call/response.

Concept: 16th note rhythms

Teaching Strategy: Drawing four 16th notes on the board and in different colors tying different
combinations of 16th notes together and drawing the corresponding rhythm in the same color as
the tie. Asking for volunteers to play/clap/sing the rhythms as they are made.

Amazing Grace, Frank Ticheli

Concept: 3/4 time

Teaching Strategy: Explain that Beat 1 will always be a downward motion, and there are only
three beats in a measure instead of four, constantly emphasizing that Beat 1 will ALWAYS be a
downward motion.

Concept: Triplets

Teaching Strategy: Come up with multiple three syllable words with students, and using those
words in one beat to demonstrate how a triplet sounds.

Concept: Lyrical Style

Teaching Strategy: Demonstration. I will play two examples of a lyrical style and a
choppy style to demonstrate the difference between the two. Explaining that I want the
sound that they heard in the first example where it was smooth and lyrical instead of a choppy
note to note sound.

Concept: Modulation

Teaching Strategy: Demonstration/participation. I will play the recording of the section with
the modulation, have them play the portion before the modulation, the modulation itself, and
the part after the modulation. Once those three parts are solid alone, I would put it together.

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Into the Couds!, Richard Saucedo

Concept: Style changes

Teaching Strategy: Demonstration. I will play three examples of style changes being measures
28-40 where it is lyrical, accented and syncopated, and lyrical again. The first I will keep it all
lyrical with no style change, the second I will play with minimal style change and put some
accents in, and the third time I will make it a drastic change between the styles. I will then
explain that I want their style change to be as drastic as mine was when I demonstrated.

Concept: Syncopation

Teaching Strategy: Participation. I will have the snare drum play 8th notes with accents every
other note to simulate downbeats. I will then clap multiple examples of syncopated rhythms,
eventually leading to them correctly clapping the rhythm in measure 1 that comes back in
multiple instruments multiple times throughout the song.

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 Objectives for Students

This weekly schedule is going off the assumption that this is an 8th grade ensemble having a 50 minute
period at the beginning of the school day, 1st or 2nd hour with realistic hiccups in the schedule that
occur in schools. I will try to simulate a concert cycle with school picture schedules going on where most
of the woodwinds and percussion are last names A-M, and most of the Brass is last names N-Z. These
picture schedule will appear on the Monday, Tuesday, and Wednesday of Week 4. In addition to the
picture schedules in Week 4, there will also be half days in Week 5.

American Heroes March (Williams)

Amazing Grace (Ticheli)

Into the Clouds! (Saucedo)

Week 1: Introduction to the pieces, basic detail work

Monday Warm up Bb and Eb scales (5 minutes)

Tune (5 minutes)

Sight reading All 3 pieces (40 minutes)

Tuesday Warm up Eb scale (5 minutes)

Tune (5 minutes)

Ticheli (25 minutes)

Lyrical style, bringing out melody. Measures 1-39

Williams (25 minutes)

March/legato style, bringing out interjections. Measures 1-23

Wednesday Warm up Bb and C scales (7 minutes)

Tune (3 minutes)

Saucedo (30 minutes)

Keeping time with smooth style. Measures 20-37

Williams (10 minutes)

Transitioning from America the Beautiful to original fanfare.

Measures 16-23 and 37-44

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 Thursday Chromatic Scale, Bb-Bb one octave (3 minutes)

Tune (2 minutes)

Williams (15 minutes)

Bringing out chromatic line in Alto Saxophone and Horn. Measures 16-23

Saucedo (30 minutes)

Making sure that opening rhythms dont rush.

Measures 1-17: Flutes, Oboe, Clarinet

Measures 1-4 (repeated): Alto/Tenor Saxophones and Trumpets

Friday PTTW* (10 minutes)

Warm up on their own and tune (5 minutes)

Saucedo (25 minutes)

Getting through the key change cleanly. Measures 37-56

Getting the two different melodies to work together (mes. 48)

Week 2: Starting to get the students to listen across the ensemble

Monday Hand out chorale book*, chorale #1 & 2 (15 minutes)

Lyrical style and tuning

Tune (5 minutes)

Ticheli (30 minutes)

Measure 99-end

Timing of entrances between Low Brass, Clarinets, and Flutes

Measure 56-83

Bringing out the important lines

Staggered quarter note, dotted half note in 56-63

Clarinets and Alto Saxes in 64-70

Ascending lines 72-83

Measure 83-91

Getting Trumpets to listen to the other parts the play the same part

Trumpet 1 Clarinet, Alto Sax 2, Horn 1

Trumpet 2 Unique Counter melody

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 Trumpet 3 Flutes, Oboe, Alto Sax 2

Tuesday Chorale #2 (10 minutes)

Tune (5 minutes)

Saucedo (20 minutes)

Measure 48-66. Counting with the call and response between brass and
woodwinds and tuning the downbeat of the Db Major chord in 66.

Ticheli (15 minutes)

Measure 17-33. Making sure that entrances are correct

Wednesday Chorale #1 & 3 (12 minutes)

Tune (3 minutes)

Ticheli (10 minutes)

Measures 99-end. Chords in 101, entrances of flutes and Clarinets

Saucedo (25 minutes)

Measures 20-37. Tuning during the slow section, picking chords apart

Thursday Chorale #2 & 4 (10 minutes)

Tune (5 minutes)

Williams (15 minutes)

Measures 29-44

Making sure that the individual lines are solid

Flutes alone, Clarinet/Horn together, put lines together

Ticheli (20 minutes)

Measures 25-43

Entrances of instruments and start piecing small parts together

Make sure that scale-sounding section finished out at 33

Individual moments between 33-39

8th notes in 34

Suspension in 36

Counter melody in 37-38

Friday PTTW (15 minutes)

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 Tune (5 minutes)

Williams (15 minutes)

Background parts measure 1-23. Solidity of parts

Percussion, Tubas, Baritones, and Trombones though all of it

Alto Saxophone, Trumpets, and Horns measures 16-23

Saucedo (15 minutes)

Background parts measures 1-37

No Alto Saxophones, Trumpets, Horns 1-17

Only Percussion 17-37

Week 3: Small details including entrances and focusing on balance of the ensemble

Monday Chorale #1 &4 (15 minutes)

Tune (5 minutes)

Saucedo (20 minutes)

Measure 40-66

Alto Saxophone/Horn feature 41-48 over all background parts

Not rushing and timing 48-58 (PERCUSSION WILL BE A HUGE HELP)

58-66 The three different lines line up correctly (8th notes, melody, hits)

Ticheli (10 minutes)

Measure 83-99 HIGH PART OF THE PIECE

Not over playing will be the biggest thing here-listening for AG melody

Long tones staggered breathing

Amazing Grace even color

Counter melody even color under AG melody

Measure 91 Entrances

Beat 1 Flutes, Oboe, Clarinets Alto Sax, Trumpet 1

The & of 1 - Bass Clarinet, Bassoon, Tenor Sax, Bari Sax,

Trombone, Euphonium, Tuba

Beat 2 Trumpets 2+3, Horns 1+20

Tuesday Chorale #2 & 4 (10 minutes)

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 Tune (5 minutes) Try to have them tune by ear and then with a tuner

Saucedo (25 minutes)

Measures 56-end

58-66 3 different lines lining up (8th notes, melody, hits)

66-74 Playing though the modulation, mostly for the melody

74-end

Flutes, Oboe, Clarinet 1+2- not rushing

Clarinet 3, Alto Sax, Tenor Sax, Trumpets, Horn, Trombone,

Baritone- Bouncy styles with slight bell tone accents

Tuba, Bari Sax, Bass Clarinet, Bassoon- Entrance on beat 2

Ticheli (10 minutes)

Measure 83-99

Overarching crescendo/decrescendo in this whole phrase

83-91 crescendo, 91-99 decrescendo. Tune first chord at 99

Wednesday Chorale # 2 & 5 (10 minutes)

Tune (5 minutes)

Ticheli (20 minutes)

Measure 39-64

Playing through the modulation

Measure 43: 16th note rhythms and Alto Saxophone bell tone entrances

Measure 47: Horn 1, Clarinet 1 unique line a measure apart

Measure 53: Alto Saxophone parallel lines

Measure 56: Bell tone lines. Horn 1, Tenor Saxophone, Clarinet 2,

Flute 2, Flute 1 (in order)

Williams (15 minutes) Focusing mainly on percussion parts

Measure 1-8

Timpani, Bass Drum, and Snare Drum play with Tuba, Baritone,
Trombone

Add melody after this combination is solid

Measure 29-44

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 Focus more on snare drum rhythm as opposed to melody

At 37 listen to make sure that bells are playing melody with everyone
else

Thursday Chorale #5 & 6 (10 minutes)

Tune (5 minutes)

Saucedo (15 minutes)

Measure 74- end

Measures 74-80

16th notes not rushing

Clairnet 3, Alto Saxes, Tenor Sax, Trumpets, Horn, Trombones, Baritones

counting and articulation - Heavy accents.

Bass Clarinet, Bassoon, Bari Sax, Tuba entrance on beat 2

Measures 80-86

Similar to 74-80 with one addition

Bass Clarinet, Bassoon, Bari Sax, Tuba rhythm starting on beat 2

Measures 86-end

Making sure everyone except for Flutes, Oboe, Clarinet 1+2 play the
right notes until 90 since nobody moves notes, its just changes in
rhythm

Tune the last 5 chords (Cluster chord, F7, Bb half dim. 7, EM, BbM)

Williams (10 minutes)

Measures 44-end

Chords in 45-46 (Eb, F7, Bb)

Melodies in new key, both the original melody and ATB in new key

In 64-style just like the beginning in new key

Chords in 66 (Bbm7, CbMM7, BbM) and rhythm in last measure

Ticheli (10 minutes)

Measure 56-70. Tuning and going from Db modulation into F Major

Friday PTTW (10 minutes)

Chorale #2 & 4 (10 minutes)

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 Tune (5 minutes)

Williams (10 minutes)

Measure 23-end

Practicing bigger chunks of the music for practice playing longer

Making sure that tempo is even through the whole section

Good practice for going from original key to new key

Week 4: TESTING. Making sure that small details are correct both in and out of context

Monday STUDENTS LAST NAMES A-M PICTURES (Mostly a Brass rehearsal)

Lip slurs, Bb and Eb scales (10 minutes)

Tune (5 minutes)

Saucedo (20 minutes)

Measure 37-end

Articulation, Dynamics, a focus on counting all the way through.

Measure 40-horn feature and all others focusing on rhythm

Measure 48-COUNTING

Measure 58-different parts into modulation (rehearse trumpets)

Measure 76-Counting, dynamics, articulation, and cut offs

Measure 90-articulation and tuning of last 5 notes

Williams (10 minutes)

Entire song focusing on style, articulation, and the key change

Ticheli (5 minutes)

Measure 101-end Making sure that the chords are correct

Tuesday STUDENTS LAST NAMES N-Z PICTURES (Mostly a Woodwind/Percussion rehearsal)

Bb, Eb, Bb-Bb Chromatic 2 octave scales (10 minutes)

Tune (5 minutes)

Saucedo (20 minutes) Running the piece, focusing on points below, fixing whats needed

Measures 1-17 not rushing the 16th note rhythms

Measures 20-37 Lyrical style, tuning chords, and keeping time

Measure 48 COUNTING

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 Measure 58 Three different lines staying in time

Measure 66 Tuning the modulation

Measure 74 not rushing the 16th note rhythms and tuning the last 5 chords

Ticheli (15 minutes)

Measure 1-47 Running the section, focusing on whats needed

Measure 1-9 Lyrical style and staggered entrances

Measure 9-25 Alto Saxophone solo with entrances throughout

Measure 25-33 Entrances on the correct beat, upward scalular pattern

Measure 33-43 Hearing the Amazing Grace melody through the thick
texture. Tuning the modulation at 41

Measure 43 Tuning chords and Alto Saxophone/Clarinet 1 entrances

Wednesday ANY STUDENTS WHO MISSED PICTURES

Chorale #1 & 2 (10 minutes)

Tune (5 minutes)

Williams (10 minutes)

Measure 23-37 and Measures 44-64

Sections where original melody and ATB melody are playing together
in both the original and new keys

Ticheli (25 minutes)

Measure 25-end

Entrances, Tuning, Articulation, Dynamics, Balance, and Tuning

Thursday Chorale #2 & 3 (10 minutes)

Tune (5 minutes)

Saucedo (15 minutes)

Measures 20-74

Transition from smooth and lyrical style to accented spirited style

Transition from Original key, modulation, original key

Williams (20 minutes)

Run though with recording and playing back to the ensemble

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 Rehearsing any part that wasnt solid, most likely the transitions/beginnings of
new sections

Friday PTTW (10 minutes)

Chorale #5 & 6 (10 minutes)

Tune (5 minutes)

Ticheli (25 minutes)

Run through with fluxuations of tempo with recording and playing back to the
ensemble

Rehearse what is needed, most likely 39-91 since there is no Amazing Grace
melody though the middle section and leading into 91 pulling the tempo back
for dramatic effect

Week 5: Performance mindset beginning. Invite any teachers/administrators in to listen on Thursday.

Monday Warm up on their own and tune (10 minutes)

Chorale #1 & 6 (10 minutes)

Tune (5 minutes)

Saucedo (20 minutes)

Runthough piece with recording and playing it back to the ensemble

Rehearse what is needed, most likely overall rushing, the tuning of the lyrical
part, counting at 48, three different lines at 58, modulation at 66, and the 5
chords.

Williams (15 minutes)

Runthrough and work on what is needed

Tuesday - Warm up on their own and tune (10 minutes)

Chorale #2 & 5 (10 minutes)

Ticheli (15 minutes)

Measure 43-83. Making sure that entrances are all on time and balance

Saucedo (15 minutes)

Measure 29-58. Making sure that there is steady tempo between transitions

Wednesday Warm up on their own and tune (10 minutes)

Chorale #3 & 4 (10 minutes)

Williams (15 minutes)

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 Measures 37-end. Making sure there is steady tempo between transitions

Ticheli (15 minutes)

Measures 70-end.

Making sure there is steady tempo between transitions

Blend and balance throughout

Thursday HALF DAY. HALF DAY: HOURS 1. 2, 3 MEET (40 minute classes)

Warm up on their own and tune (10 minutes)

Sight reading new pieces (30 minutes)

Give the ensemble a nice mental break from the music and since its a half day
they most likely wont be 100% focused on the music anyway

Friday NO BAND. HALF DAY: HOURS 4, 5, 6 MEET (40 minute classes)

Week 6: Performance Mindset 100%

Monday Announce that Concert is on THURSDAY with announcements and questions (10
minutes)

Warm up on their own and tune (10 minutes)

Saucedo (15 minutes)

Measure 1-48

Running bigger chunk to get them thinking ahead in the music

Williams (15 minutes)

Run through to get them thinking ahead

Tuesday - Announce that Concert is on THURSDAY with announcements and questions (10
minutes)

Chorale #1 & 3 (10 minutes)

Tune (5 minutes)

Ticheli (15 minutes)

Measure 1-56

Running bigger chunk to get them thinking ahead in the music

Saucedo (15 minutes)

Measure 37-end

Running bigger chunk to get them thinking ahead in the music

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 Wednesday PRE-CONCERT DAY

Announce that Concert is on TOMORROW with announcements and questions (10

minutes)

Chorale #2 & 5 (10 minutes)

Tune (5 minutes)

Williams (10 minutes)

Runthrough to get them thinking ahead in the music

Ticheli (15 minutes)

Measure 56-end

Running bigger chunk to get them thinking ahead in the music

CALL TIME 6:29pm, CONCERT 7pm LAST COMMENT OF THE CLASS.

Thursday CONCERT DAY

Move everything over to the PAC (15 minutes), leaving equipment at the PAC

Chorale #3 & 6 (10 minutes)

Tune (5 minutes)

Run through of concert with comments before/after each piece (20 minutes)

Any final questions before the concert (10 minutes)

CONCERT 7PM, CALL TIME 6:29pm LAST COMMENT OF THE CLASS

Friday PTTW. No playing, review the concert video. Discussion, what went well, what couldve
gone better.

*PTTW Positive Things This Week

I got the idea from Pre-interning at Plainwell. I will set aside some time just for the students to
say something good that has happened during the week, just to give them a mental break on always
doing music, plus it helps the students to help each other because if one student says something that
another is experiencing as well, they could talk and make a friendship and feel even more excited to go
to band because they get to see their friend.
*Chorale Book
I got this idea from when I was in high school and my band director gave the band a chorale
book. These were not simply something for us to play, but they help the band tune on the go in a real
performance situation and to listen across the band if the chorales are written well enough. I dont have
a chorale book in mind, so it is a generic Chorale #1-5 in the schedule. The reason I will spend so much
time on only 5 chorales is to help them develop different musical ideas as well as to potentially listen to
every part in the band.

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 Resources

American Heroes March, Mark Williams

Amazing Grace, Frank Ticheli

Into the Clouds!, Richard Saucedo

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