KJOS CONCERT BAND GRADE 3 G8881F $5.00 PSALM AND CELEBRATION BRUCE PEARSON AND CHUCK ELLEDGE: Kuos CONCERT BANDW/oRKS | gos NiKjos Concert BandWorks The Kjos Concert BandWorks series is an outstanding array of gradle 3-4 concert band fterature. Every selection {s an indispensable too! for helping band students acquire a wellvounded education in music, Selected Kjos Concert BandWorks include Musicianship Studles, directed studies which provide an opportunity for structured learning. Combining the Musicianship Studies with the performance of the piece wil develop students’ creative and cognitive skils, and give them the understanding and motivation necessary fora long-term interest in music. Other selections in the Kjos Concert BandWorks series include Bold Venture, by Robert Jager + Grade 3 +» G8877 « (3.30) Kensington Gardens Overture, by Lennie Niehaus + Grade 3 + 1810 + (5:30) Graduation Day March, by Toshio Mashima » Grade 3 /, » W123 + (2:45) Chinese Folk Rhapsody, by Richard €. Brown + Grade 4 + WB132 + (6:45) Cassette recordings of these and other Kjos Concert BandWorks are available from the Weil A. Kjos Music Compary. INSTRUMENTATION LIST * PSALM AND CELEBRATION 3- Ist ute 1 Tani 3 ond Pute 2: persion f 2-Ot08 Chimes 3 Ist Cnet bells 32nd crnet %ilophone 331d 8 Clnnet Mannbe Tab ass Criet 2 Percussion I 1" ist B fo Sexophone Tonge 1" and 6 Ato Sorophone Gash Gbals 18 tenor Sarophone Tambourine 18 bartone Saxophone Wind Chimes 1 Bassoon 2-Percusion i 27138 Come Trumpet Tomear 22nd a Come/Tumpet Tomtome 2+ 3rd B Cormet/Trumpét Suspended Cymbal Boise om 2 -PecustonW Band hom Suspended Cymbal 3. It Trombone Sroreorom 2 -2ad Trompone sass rum 1 dantone ¢ 1 -Fal Conductor Score 2-artone 3 3 tube ‘Aoproximate Performance Time 5:20 Additional scores and parts are avaiable 1© 1991 Ne A. Kjos Musle Company, 4380 lana Drv, 53n Diego, Calor, 92517 Al ght reserved wept te Hg To cea any quanti of copes fom any eutoned sor page Invamanoral ooynght secre ned US Warning! ihe contents ofthe pubeston are etected by apyQht few To ooy of rearaouee them by any method “ton niger the cong ian Anyare no repaducescoynyned mate nest ‘staal perates aed ssessmens foreach niger aTHE COMPOSERS sce Bruce Pearson received his Bachelor of Science in Music Education degree from St, Cloud State University, and earned his Master of Arts in Music Education degree from the University of Northern Colorado, He taught elementary, junior high, and senior high instrumental music in the Elk River, Minnesota schools for 22 years, and was singled out as one of the “most outstanding in music education in the state of Minnesota” by Wenger Corporation in 1988. Mr. Pearson is the author of the BEST IN CLASS COMPREHENSIVE BAND METHOD published by the Neil A. Kjos Music Company. In addition, he has collaborated with Chuck Elledge on A BEST IN CLASS CHRISTMAS and A BEST IN CLASS SHOWCASE, and with Mr. Elledge and other composers on several warks for young band. A frequent clinician and guest conductor, Mr. Pearson has presented his innovative ideas and successful teaching techniques throughout the United States, Canada, Great Britain, Australia, New Zealand, Norway, Holland, Taiwan, Hong Kong, and Japan. Me. Pearson is currently Music Education Chairman and Director of Bands at Northwestern College in Rosevile, Minnesota. He is a member of Music Educators National Conference; American Society of Composers, Authors, and Publishers; National Band Association, College Band Directors National “Association; and American School Band Directors Association. He continues to be in great demand ‘sa cinicon, adjudicator, and composer. Other concert band selections by Bruce Pearson published by the Neil A. Kjos Music Company include Cajun Cookin’, Crown Point March, Jubilations, Trumpet Voluntary, and Wind River Overture, Concert band selections by Bruce Pearson and Chuck éiledge published by the Weil A. Kjos Music Company inclucie As Lately We Watched, Christmas Treasures, Hoedown Hayride, Kingsbury March, Psalm and Celebration, Rudimental Regiment, and When Johnny Comes Marching Home.Chuck Elledge has been professionally composing and arranging music since his early teens. He eamed his Bachelor of Music Degree in Theory and Comoosition from the University of Minnesota, where he studied with Frank Bencriscutto, Dominick Argento, Alex Lubet, and David Damschroder While at Minnesota, he was elected member of the Society of Pi Kappa Lambda, Mr, Elledge has composed music for commercial radio and industrial mult:media presentations, as weil as ail levels of education. His colaboratve efforts include A BEST IN CLASS CHRISTMAS, A BEST IN CLASS SHOWCASE, and many otter titles for young band.. He was invalved in the production of the ALL FOR STRINGS COMPREHENSIVE STRING METHOD, and has several string and full orchestra works to hs credit A member of the American Society of Composers, Authors, and Publishers (ASCAP), Mr. Elledge is currently Staff Writer for the Nell A. Kjas Music Company. In adaltion, he serves as Music Director for the Minnesota Vikings Football Club, and is active as a quest conductor, clinician, and freelance arranger. Other concert band works by Chuck Elledge published by the Nel A. Kjas Music Company include Blue Mountain Pass, British Isles Suite, Cabo Rico, Espritl, Liberty Bell Overture, Mirage, A Santa Cecilia, Songs of Olde Eire, Summer's Rain, and Worldwide Yuletide. «8681MUSICIANSHIP STUDIES ‘Musicianship Studies outline the technical skills and musical knowledge necessary for comprehensive study of Psalm and Celebration. The Musicianship Studles on pages 7-14 are short warm-up and technical development exercises which focus on the outstanding musical elements of Psalm and Celebration. Use these exercises to familiarize students with the important rhythms and transformational techniques used in the piece, ar to improve overall aural awareness. The Rehearsal Suggestions which precede each studly contain directions and suggested activities. You are encouraged to apply this material creatively to your group to achieve best results, The Scale/Tonality, Rhythm, and Thematic Development Studlies appear on each student part. For a more ineiepth study of Psalm and Celebration, photocopy” and distribute the Formal Analysis and Study Guide found on pages 15-16. These teaching tools will enhance students’ appreciation of ‘music and their understanding of this composition. Use them as the basis for class discussion, extra- crealt assignments, or written examinations. In some cases, you may wish to distribute just the upper or lower half of the Study Guide. The Formal Analysis provides a thematic outtine of the piece. For best results, use the Formal Analysis in conjunction with the earlier Musicianship Studies and a recording af Psalm and Celebration. The Study Guide presents a discussion of the sallent transformation devices used in Psalm and Celebration and allows students the opportunity to reflect on their knowledge and apply it creatively. “The Neil A, Kjos Music Company grants permission to photocopy the Formal Analysis and Study Guide only, for use with your students. (© 1991 Nei A. Kjos Musie Company, 4380 suthnd Ori, San Diego, Cabin, 92117, Allights reserved kept the right to dunt ary quant of capes hom any autroneed score page. Internationa copjegit secured. srinted 9 US. Waring the contents ft eubliatin are arteted by conygh lw TO copy of ora tam By ny med on iingement ofthe capper aayane who reewegucs Copygnied mater Bet ‘estan anaes and nzessnents fr 200 fegerent nee)THE COMPOSITION Rhapsodic in nature, Psalm and Celebration is written in a rough “sonatastke” form. The primary ‘motivic material is stated by a solo flute in measures 3 and 4 of the introduction (the “Psalm”). This simple motive uses a minor third interval and the fatted seventh degree to evoke a pensive, introspective | ‘mood. This mood eclipses the transitory moments of triumph in the composition, recalling the struggle «and melancholy that inevitably accompanies the drama of human victory From the two-measure motive evolves the principal theme stated first in the slow, extended introduction, and then throughout the remainder of the composition. Transformation of this theme through _ augmentation, diminution, pitch and chythm embellishment and deletion, fragmentation, and mode change creates variety in the composition, and forms the melodic bass for the “Celebration” beginning at measure 35, Only occasionally is entirely new material, such as the secondary theme (first heard in its entirety at measure 51), used to provide contrast and variety i Jn keeping with’ mood of the piece, the introductory “Psalm” may be taken quite freely, with attention given to preventing the accompanimental figures from becoming sluggish. In contrast, perpetual energy {and an unwavering tempo should characterize the “Celebration,” until the closing moments of the coda bring about 2 musical furor. ceaSCALE/TONALITY STUDY REHEARSAL SUGGESTIONS J. Introduce the concept of tonality, and its relationship to key, key signature, natural minor scale, tonic note and tonic chord (triad). In particular, point out that the tonic chord has the same name 2s the related scale and key and is constructed from the tonic, thd and fifth notes of the related scale (the root, thitd, and fifth of the chord). Have students identify which chord tone they have i» their part at measure 7. 2. Play the study with the full band. Try different rhythm and articulation patterns 3. Divide the band into two groups, and have one graup sing the study on “loo” while the other group plays. Switch parts and repeat the exercise, Once this is mastered, have students sing scale degroes ar solfege syllables. Finally, have the entire band sing “a cappella." 4. Instruct students to memorize the scale and arpeqgiated tonic chord. 5. Discuss the similarities and vifferences between natural, harmonic, and melodic forms of the minor scale, Have the band play the scale in all three forms, adding accidentals as necessary. ©. Describe the relationship between a minor key and its relative major key. On a piece of staff paper, have students write out the relative major form of this stud in their own key (everyone ending on the tonic note in measure 7). Play the results with the full band or by section, (Concer Natt Minor 2 comes ulopone Xoshane rol all nates longer than an eighth nate throughout the Musianshio Studie,RHYTHM STUDIES REHEARSAL SUGGESTIONS 1 2. Have students count and clap each rhythm repeatedly ‘lave students play each rhythm repeatedly. Stress the importance of attention to articulations Experiment with playing the rhythms on scale degrees other than the tonic, or use various chord structures as the source of pitches (such as the tonic chord in measure 7 of the Scale/Tonality Study). Have students identify appearances of each rhythm in thei parts. Pay those passages wath the full band. Encourage students to listen to how these chythms interact with other rhythms in the piece. Introduce the concept of syncopation, using these Rhythm Studies as examples. Rhythm Study continued on age 10. 081THEMATIC DEVELOPMENT STUDIES REHEARSAL SUGGESTIONS 5, Define the terms motive and theme and introduce the concepts of motivie and thematic development, Discuss how the Primary Motive is used as the basis for Theme A and how this single motive sets the mood for the entire composition (see page S- “The Composition’). 2. Describe the transformation devices used in Psalm and Celebration (including diminution, augmentation, fragmentation, embellishment, etc.) and discuss their specific applications to the the Thematic Development Studies below. Note these special points: + in Study #2 (A), a “diminution effect” is created by the change in tempo and the use of syncopation and pitch and rhythm variation. The theme is stil basically the same length, so on ‘paper, no actual diminution has occurred. + Studies #3 and #4 (A” and A") are examples of “real augmentation,“ although because of the tempo alfference, A" actually sounds as if it is moving at approximately the same speed as the original Theme A\ Theme A" only includes a fragment of the original theme. Play each Study with the full band. Identify phrases and demonstrate proper shaping of each phrase Have students identify appearances of the Primary Motive in these Studies. Have students identify appearances of the Primary Motive and Theme A (and its various transformations) in their Psalm and Celebration parts. Play those passages with the full band. 6. Have students suggest other ways in which the Primary Motive and Theme A could have been transformed by the composers to create different effects in the composition. 1. Theme A den Pi ete haw > Caro Shope 1b car "pampes 3 & Hors zee2. Theme A’ (diminution effect, syncopation, melodic embellishment) 1 cara B Tw sheopoone Ba 1 corm te. a ‘Barton a ik a vootinas [SEES - com. fieTheme A" in augmentation) a J sae 2» caries Por see cam "rae soins4, Theme A"™" (fragment in augmentation) By corn ‘pence Sartoce ‘fee ‘Tina!15 _anoyy Arebivs Vv euro] pue (ore sainseaw us pay 2 parte 2q M1919 UBYO EYNOD BU vvoN 20} pazsouine a6ed su Aueduion 21snyy soy 'v [79M 1661 2 up paseg, se pereuBiap feyareu vsamaq dlysuoneyay Buns ayn Jo a5ne30q ‘sase> AUeW U semis | ead call BUY [dk epo> se vb ; wwcmmntin | ad yaa uoneymydesay sit stu ier | 1 — 1 wr sew" 'ae ' _— 5 wT STE | Tov aun ey | ' SV au t quaudojanag osenetuenny ah _ i 44 osongnp t wo Sayer apm seus; | | nm tf cmwatin | aw [semana A sod coo i aatiaaL away 1 Fama | rR uonysodxz i 9 9 6 6 s a se OCT aa oe cortioug — wNOUMVYIITID,, ort siatlianes Sa ae uonsnposnuy wep wNIVSE, ‘wroy 2x 21@U0s, YOPOF e Ur vosWM §) UoResqa}aD pure UES sisAjeuy [RUA -NOLLWasTTID NY WIVSdPSALM AND CELEBRATION-—Study Guide The alteration of a passage of music is referred to a5 transformation. Composers use various transformation devices to create various effects, Four of these devices ace |} Embellishment modifying th pitch or note values ofthe orginal passage but retaining the same general melodic shape (contour) and structure 2) Fragmentation - retaining only a portion or portions of the original passage. 3) Augmentation - lengthening the the note volves ofthe oniginal pascage, 4) Diminution - shortening the the note valves ofthe original passage Examples using a portion of "isthe Gift to be Simple asthe “orginol* as ee Sa ee v eee She — oe re wit Psalm and Celebration uses a ofthe above transformation devices, diminution fs achieved ina slightly different way. By restating the passage at a faster tempo, and by embellishing the melody, a “climinuton etloct™ ‘5 created; the actual length of the passage remains the same. original th “Siminution effect” ee \ Seba SSS Likewise, an “augmentation effect” would be created ifa passage were restated at a slower tempo By using various transformation devices, composers are able to create variety by modifying or altering repettions ofa theme or motive used earier in che composition, ~ create unity By ‘epeating, ina modified form, a theme or motive aeady used Obiaining a balance Between Unity and variety is one ofthe most challenging and mportant aspects composing PSALM AND CELEBRATION—\W/ritten Exercises Name, 1. Deserioe the following transformation devices, 2. augmentation b, fragmentation «& aliminution, a. embellishment. 2. On a separate sheet of staff paper, weite 2 four measure concert F natural nunor melody for your instrument sich follows the hythen pattem given below. Then, transform this melody in four diferent ways using the devices listed in question 1., or using any other devices with which you are familar. Label each tareformavon, indicating the device or devices used. LLL © 1991 Neil A. Kjos Music Company This age authorized for aunicatonMusicianship Studies—Psalm and Celebration 1st FLUTE SCALE/TONALITY STUDY F Natural Minor (Concert F Natural Minor) ‘Tonie Chord THEMATIC DEVELOPMENT STUDIES 1. Theme pinay Movive 1 denl "—p 2. Theme A’ L d= 12-205, pape eee fae ee 3. Theme A’? eo : 4, Theme A” ! d=t.120 nf 19 1991 Noi A, Kos Music Comaany, $269 futand Orv, San Dingo, Callen, 92117, intrnstonal cooyight secure. All 0QNsYeserved. ated in USA Warning! the contans of ths punicaton are protected by copia bw. To coy ar epraaue them by any method ‘ean nfangement ofthe coyright am. Anyone who erosucesconyghted mater sages "Est fo substantial peal ad assessments foreach ningement