“TOAST TO HONOR”

QUINCY C. HILLIARD
TRN Music Pub. Co.
Grade 3
Teacher Guide

SECONDARY TEACHING UNIT

MUSIC 670 – SPRING 2020
Mackenzie Webster
 ~ Table of Contents ~
Introduction .................................................................................................................................... 2

Composer
Introduction ……………………………………………………………………………………… 3
Composition
Historical Perspective
Unit Goals with Standards Alignment ........................................................................................... 4

Score Analysis ............................................................................................................................... 5

Melody
Score Analysis ............................................................................................................................... 6

Harmony
Rhythm
Score Analysis ............................................................................................................................... 7

Timbre
Score Analysis …………………………………………………...……………………………… 8
Form & Structure
Concept Lessons and Assessments
Lesson #1 – Who Has The Melody? ....................................................................................... 10

Lesson #2 – Balance & Blend ................................................................................................. 14

Lesson #3 – Self-Assessment .................................................................................................. 19

Lesson #4 – Creating a Story .................................................................................................. 22

1
 Lesson #5 – Rhythmic Accuracy ............................................................................................ 26

Warmup Strategies ....................................................................................................................... 31

Glossary of Musical Terminology ............................................................................................... 33

Recordings and Suggested Listening ............................................................................................34

2
 ~ Introduction ~
Composer
Quincy C. Hilliard (2018) was born in Starkville, Mississippi in September of 1954. He
attended elementary, middle, and high school in the Sarkville school district where he was a
trumpet player in band. According to Hilliard (2018) he, “just liked being in band.” He graduated
from Starkville High School in 1972. He holds a Bachelor of Science in Music Education from
Mississippi State University, a Masters of Music Education from Arkansas State University, and
a PhD in Music Theory and Composition from the University of Florida. He has studied under
Jared Spears and Richard Bowles. He first took an interest in composing during his time in his
undergraduate. They frequently had to compose to show they understood concepts taught to them
in theory classes (Hilliard, 2018). His true inspiration for composing came to him while getting
his doctorate, and according Hilliard (2018) he realized he just likes to write and said, “Writing
is a form of expression for me.” He enjoys writing programmatic pieces and including a lot of
motifs. Hilliard’s (2018) first big break was with his second piece he had published called
Furioso (1981). The first piece, Coty, that was set to be published perished in a fire that occurred
in the publication company’s building. It has never been published, but is on a Grammy
nominated CD.
Quincy Hilliard is frequently commissioned to compose works. In 2008, the Library of
Congress asked him to compose a work for the celebration of the bicentennial of the birth of
Abraham Lincoln. He has also been commissioned to compose for the 1996 Olympic Games in
Atlanta, as well as a score for the documentary film, The Texas Ranger. He is also frequently
invited to conduct and adjudicated worldwide. In addition to composing works, he has also
authored and coauthored multiple books. Hilliard is a scholar of Aaron Copland’s music and life,
so the Copland estate administrators authorized him to publish the educational performance
edition, Copland for Solo Instruments (Boosey and Hawkes, 1999).
Throughout his career he has been given many awards and accolades. In 1998, he was
designated as Mississippi State’s College of Education Alumnus of the year. The next year, he
was recognized as the Outstanding Alumnus of the School of Music from the University of
Florida. In 2014, he received the Mississippi Institute of Arts and Letters Award in the Classical
Music Division. In addition, he also was recognized with a second Global Music Award for his

3
work as a composer. In 2012, one of his pieces, Coty, was recorded on a CD that was nominated
for a Grammy Award. He has been recognized for many years by the American Society of
Composers, Authors, and Publishers (ASCAP) with annual awards for the frequent performance
of his compositions.
Currently, Dr. Quincy C. Hilliard is the Composer in Residence and is the Heymann
Endowed Professor of Music at the University of Louisiana, Lafayette.

Composition
Toast To Honor (1988) was premiered at the University of Florida and was conducted by
Dr. Hilliard himself. It was played by the second band at the University of Florida at the time.
Dr. Hilliard (2018) does not remember exactly when it was premiered. It was written from 1979-
1984 when Hilliard was obtaining his doctorate degree from the University of Florida. According
to Hilliard (2018), this piece is a Grade 3 and is 2 minutes and 49 seconds in duration.

Historical Perspective
Toast to Honor (1988) was written as an assignment during the time Dr. Hilliard was at
the University of Florida obtaining his doctorate from 1979-1984. At the time, he and his teacher
Richard Bowles agreed he would write a piece during his time there. Hilliard knew he wanted to
write a march because he had never written one before. During the time the piece was being
composed, Hilliard (2018) said he had a requiem of pitches in his head that helped him write the
piece.

4
 ~ Unit Goals with Standard Alignment ~

By the end of this unit, students will…

o Identify different musical textures and each line’s role in the piece.
MU:Pr4.2.E.Ia

o Identify the phrase structure of the piece and accurately display it.
MU:Cn10.0.H.Ia

o Establish extra-musical connection through integrating choice of visual, literary, or

movement arts.
MU:Cn11.0.T.Ia

o Make independent musical decisions.

MU:Re8.1.E.Ia

o Identify shaping of notes/phrases and apply it accurately.

MU:Pr5.3.E.Ia

o Demonstrate technical proficiency through matching tone, rhythm, articulation, release,

and dynamics for the duration of the piece.
MU:Pr6.1.E.Ia

5
 ~ Score Analysis ~
Melody:
Overall, there are three melodies presented throughout the piece. These occur in the A, B,
and Trio sections. This piece stays in major keys with some accidentals and passing tones. The
first melody from mm. 9-40 is presented predominantly in the trumpet section, but also in the
flute, oboe, Bb clarinets, and alto saxophones. Trumpets throughout the piece are either in triads,
as presented in Figure 1, or inverted triads when they are not in unison. In this section, they
outline the chordal structure.

Figure 1, Trumpet part in constant triads

This opening melody is the most fanfare like section but is only heard at the beginning of the
piece and does not return later. It is presented in multiple instruments and in different octaves, so
the conductor will have to work with the ensemble to get them to listen across and identify other
instruments with like parts so that they can better balance and blend with one another.
The second melody occurs from mm. 41-72. It is presented in a call and response theme
predominantly between the trumpets and the low brass, low reeds, and horns. The trumpets are in
unison during their call, and the low brass, low reeds, and horns are in unison during their
response. This is the dog fight section and is more weighted and pronounced that the previous
fanfare section, which was lighter.
The third and final melody is introduced in the trio section, which occurs from mm. 73-
104. At this point, the key changed from F Major to Bb Major. Here, the melody is played by the
Bb Clarinets, Tenor Saxophone, and Bells. The dynamics shift greatly at this section and are at
an almost constant piano instead of forte or fortissimo like in previous sections. It is more
delicate and connected than the previous fanfare and dog fight sections. The second time this
melody comes back is from mm. 121-152. Here instead of having just Clarinets, Tenor Sax and
Bells play, now it is the same instrumentation as the first fanfare section, but with an ornamented
flute part on top. The first strain of the melody goes by at the standard 120 bpm, but at m. 135

6
there is a two bar ritardando going into the final strain of the piece. The instrumentation stays
the same, but the tempo is more drawn out, and dynamics are the same as they were in the very
beginning of the piece.

Harmony:
The harmonics of Toast To Honor (1988) are pretty standard. Whoever is not playing the
melody at the time is supporting with the diatonic harmonic line. While the harmonic structure is
not exactly like Figure 1, all of the notes played are in the chords presented throughout the piece.
Most of the time it is the Bass Clarinet, Bassoon, Tenor Sax, Horns, Baritone, and Trombones.
The section with the most non-chord tones is in the Trio and the final strain of the piece. The
most prominent ornamented section is the final strain of the piece with the flute and piccolo part.
They have running 16th notes that does stay in the key but ornaments a lot of passing tones.
With the harmonies combined with the melody, the conductor and ensemble will have to
take into considerations the different pitch tendencies of the instruments and the parts of the
chords being played to be able to get the best blended sound.

Rhythm:
The rhythms of Toast To Honor (1988) are standard for a Grade 3 piece. Dotted eighth-
sixteenth notes and syncopation being the most predominant. Those rhythms, in addition to the
syncopation throughout multiple parts, and the ornamented flute/piccolo line is what give this
piece its difficulty. The snare drum is the instrument with the most continuous use of 16th notes
and syncopation throughout the piece. Snare drum is the rhythmic backing to this entire piece.
The only section the snare drum does not play is during the trio, but at that point it switches to
the horns and the optional trombones with the rhythm presented in Figure 2.

Figure 2, Supporting Rhythm

The Bass Drum, Crash Cymbals, Bari Sax, and Bass part has a constant quarter note or 8th note
rhythm throughout the piece. They also help keep the rhythmic integrity of the piece.

7
Timbre:
Throughout Toast To Honor (1988) there are four shifts in texture, timbre, and mood.
The first theme as stated in Section A is a fanfare section that is light and bouncy with the
trumpets dominating most of the bright texture and mood. The bright texture is caused by where
the trumpets and upper woodwinds are at in their ranges. Here the ensemble could picture a
rubber bouncy ball when describing the feel.
The first texture shift occurs at section B. The main melody and focus of this section is
still in the trumpets, but also is given to the low brass and low reeds. Each instrument grouping is
in unison, which intensifies the sense of power. At this point, the trumpets are in unison with
lower pitches, this helps create the dark and weighted feeling of the section. In addition to the
trumpet playing a lower pitch, the low brass and reeds also have the help of the bass voices. This
helps with the overall feel. To help accurately play the more marcato section, the ensemble could
think of still playing bouncy. Instead of a rubber bouncy ball, the ensemble could think of
bouncing a basketball. This will help with keeping the notes separated and weighted, but not
heavy.
The second texture shift occurs when the piece goes into the trio. Here we do not have
any brass playing the melody. Here Bb Clarinet perform in their lowest register and lowest part
of their range, tenor saxophone is written in the same octave as the Bb clarinets, and the Bells
riding on the top. This section still has a dark mood, but changes to smooth and connected. This
is created by the continuous slurs in the wind instruments and putting the clarinets in the lowest
part of their range and register. The ensemble could picture themselves wading through melted
chocolate to help them accurately play the style that is wanted. This feeling could be enhanced if
the conductor smooths out their patter and possibly go into a macro four.
The next change is a 16-measure percussion break. This section does set up the next shift
in mood very nicely. This happens by the chromatic and the ascending leaps in the Bells. The
next texture shift occurs after the percussion break with the final theme being presented, where
the entire ensemble is playing. The melodic line is still the same as the trio, but now the trumpets
and alto saxes have been added. Everyone is playing in their middle register and range. There are
a lot of parts that are in unison and help the section feel triumphant. The added ornamentation of
the Flute, making the piece feel like it will soon be coming to an end.

8
 The final texture shift comes from the ritardando in mm. 135-136. This brings the piece
to a boisterous and spirited, but majestic ending with the tempo now being drawn out. Emphasis
on separation and emphasis will be very important. The same instrumentation is playing from the
previous section, but both the ensemble and conductor will have to be aware to not let the ending
drag and sound forced. Overall, this piece should sound how the composer wanted; spirited and
with fire and passion.

Form and Structure

Measure Section: Musical Tonal

Number: Considerations: Center:
mm. 1-8 Introduction  2/4 time signature is present throughout F Major
the entire piece.
 Strong introduction at 120bpm with the
trumpet parts in an inverted triad
making an initial call with the low brass
coming in as a response.
 Four 16th notes lead up to the tonic.
mm. 9-24 A  The main melody is in the Upper F Major
Woodwinds and Trumpets.
 The harmonic line is present in Low
Reeds, Horns, and Low Brass.
 The snare line rhythm repeats the same
in the next section with battery
percussion.
mm. 25-40 A’  The main melodic theme is repeated F Major
with a few chordal and rhythmic
changes at the end of the section.
 The melodic line and harmonic line
holders stay the same along with the
percussion.
mm. 41-56 B  This is a more triumphant section with F Major
some call and response between the
Trumpets and Low Brass.
 Bass and Bari Sax have been laying
down a bass line throughout the piece.
 All other instruments are assisting
rhythmically.
mm. 57-72 B’  There is a Trumpet call before changing F Major
rhythmically and modulating into the
Trio.

9
mm. 73-88 Trio (C)  One flat has been added. Bb Major
 This section could transition into a
macro 4 or 2 if desired.
 Clarinets and Tenor Saxophone hold the
melody at a piano while Low Brass and
Horns have a harmonic and rhythmic
accompaniment. The bass lined played
by the Low Reeds and Bass voice.
mm. 89-104 Trio (C’)  This is an exact repeat until the final Bb Major
measures of the section crescendo and
differ rhythmically than the previous
section.
mm. 105-120 Percussion  Percussion are the only instruments Bb Major
Break (D)  Timpani comes back in and is a
prominent roll giving the tonic and
dominant.
 There is chromaticism and syncopation
present with a final leap from dominant
to tonic, leading into the final stretch of
the piece.
mm. 121-136 C  There is a repeat of the melody from the Bb Major
trio, but this time the melody, harmony,
and bass line have the same
instrumentation as the A Section.
 Flutes with the added Piccolo have 16th
note runs on top of the melody.
 This repeat of the trio is louder at a forte
instead of a piano.
 2 measures before the last section of the
piece there is a dramatic ritardando.
mm. 137-152 C’  The piece has slowed down to 80 bpm Bb Major
with a repeat of the previous section and
a crescendo up to a fortissimo.
 The piece ends with a stinger on a Bb
Major chord.
 All percussion does not let their notes
ring.

10
 ~ Concept Lessons and Assessments ~

Lesson #1 – Who Has The Melody?

Objectives:
1. Students will be able to apply what they have learned in the previous concert block and
previous run-through to help eliminate problem areas in the piece
2. Students will be able to identify different melody lines throughout the piece.

Required Materials: Pencil, sheet of common answers from first rehearsal

Procedures:

Have them be proactive about marking music

 Encourage them when practicing on their own to mark accidentals, where they need to
watch, or anything that will help them in the future
 Think Pair Share with notes

Work on finding the melody

 Use what you wrote to improve your playing and make it easier to hear the melody
 Play each section, then go through (A, B, Trio, and C) and have people say who they
think has the melody. Confirm who has the melody in that section. Have them write
down what they need to remember who has melody.
 Have just the melody people play. Do not go full tempo
 Run section again with everyone and say “While you are playing, make sure you can hear
who has the melody”

A Section (mm. 9-40)

 Flute, Oboe, Clarinets, Alto Saxes, Trumpets

B Section (mm. 41-72)

This one might be a little trickier because who has the melody changes throughout the section

 mm. 41-47
o Trumpets
 mm. 48-55
o Bass Clar., Bassoon, T. Saxs, Bari Sax, Baritones, Trombones, Tubas
 mm. 56-72
o Trumpets
 mm. 60-72

11
 o Flute, Oboe, Clarinets, Alto Saxes join the trumpets

Trio Section (mm. 73-104)

 Clarinets, T. Saxs, Bells

 Before saying bells, see if anyone can say what instrument joins the band for the first
time in the piece in this section
 Let’s do this again and use our ears to see if we can find that instrument
 Let’s see if we can balance and listen back

C Section (mm.121-end)

 Oboe, Clarinets, Alto Saxes, Trumpet 1 and 2, 3 interchanges, Horn 1 and 3, and Bells
 Bass Clarinet, Bassoon, T. Saxs, Trumpet 3, Horn 2 and 4, Baritones, and Trombones
have a counter melody

Run entire piece

 Let’s put everything we did today together and run the piece. Think about who has the
melody in each section and make sure you can hear them.

Assessment:

 As an Exit Ticket, students will complete the Who Has The Melody? Worksheet with
100% accuracy. This will determine if they wrote who has the melody in their music.

12
 Who Has The Melody? - Student
Throughout class you have been writing in each section who has the melody. Use what you have
written in your music to complete the worksheet.

Who has the melody in…

Section A:

Section B:

Trio:

Section C:

At any time during the piece, if you do not have the melody what should you be able to hear?

When you do not have the melody, what do you need to do in order to hear the melody?

13
 Who Has The Melody? – Answer Key
Throughout class you have been writing in each section who has the melody (give specific
measures if necessary). Use what you have written in your music to complete the worksheet.

Who has the melody in… (Grade according to the answer key)

Section A: (5pts)

Flute, Oboe, Clarinets, Alto Saxes, Trumpets

Section B: (17pts)

 mm. 41-47
o Trumpets
 mm. 48-55
o Bass Clar., Bassoon, T. Saxs, Bari Sax, Baritones, Trombones, Tubas
 mm. 56-72
o Trumpets
 mm. 60-72
o Flute, Oboe, Clarinets, Alto Saxes join the trumpets

Trio: (3pts)

Clarinets, T. Saxs, Bells

Section C: (7pts) (7pts extra credit for counter melody)

 Oboe, Clarinets, Alto Saxes, Trumpet 1 and 2, 3 interchanges, Horn 1 and 3, and Bells
 Bass Clarinet, Bassoon, T. Saxs, Trumpet 3, Horn 2 and 4, Baritones, and Trombones
have a counter melody

At any time during the piece, if you do not have the melody what should you be able to
hear?

The instruments that do.

When you do not have the melody, what do you need to do in order to hear the melody?

While still balancing down to the Tubas, I need to play soft enough with good intonation to be
able to hear the melody.

14
Lesson #2 – Balance & Blend

Objectives:
1. Students will be able to demonstrate and improve their balance, blend, and intonation.

Required Materials: Pencil

Warm-up:
Concert Bb

Have students by a show of fingers 1-5 give a rating of our balance, blend, and intonation.

 Play with a bad tone

 Slowly round out the sound
 Have them play with the tone I show with my hands

Use the tone we just created as we move on to the Function Choral

Function Choral

Procedures:

Students will be sitting in 2 circles with percussion on the left and right sides.
 First two rows will just be turned around
 Percussion will be on the left and right
o Bells and Cymbals by the wall side
o Snare and Bass Drum on the green room side

C’-end
Might not be able to see me – rely on each other and yourself as well as transferring the balance,
blend, and tone we worked on in the warm up.
 Goal – Hear a part that is across the room from you (If that means everyone needs to play
quieter so they can hear that is fine)
o Don’t let the articulations we worked on Tuesday go out the window
 Who were they listening for?
o Have 2 people answer
 Repeat section and choose one of the answers given for everyone to listen to
o (Depending on the answers given) Then have them listen for either flute, clarinet,
baritone, or tuba
o Which balance did we all prefer? (Raise of hands)
 Do section again with that balance in mind

Have everyone move to a different seat. Do not sit close to people you normally sit by.

15
Trio

Clarinets focus on playing out and being able to hear each other from across the ensemble. Tenor
sax give the clarinets a nice foundational support with your sound. (Cl - Think of how you’re
playing at the beginning of Kayden’s piece).

 Everyone else playing also listen for the clarinets

 People not playing listen and tell me which section that is playing has the best tone

Let’s run this again and have as solid of tone as (insert section).

Isolate just Clarinets at trio

 Focus on being able to hear each other and producing a nice warm sound

Add tenor sax

 Focus on adding that lower support and foundation

Play trio with everyone but the melody

 Focus on keeping the 16th notes separated and quarter notes in the bass part light and
bouncy while maintaining tone and balance with each other

Play trio with everyone while keeping everything we just went over in mind.

Intro-A

 Goal – Listen for a part that is across the room from you that is different than earlier (If
that means everyone needs to play quieter so they can hear that is fine)
 Take more ownership of our parts now that you aren’t sitting by people you usually sit by
 Keep our articulations solid

 Ask who they listened for this time

 Then have them listen for either french horns or bari sax

Run Piece

Focus on taking ownership of your parts and keeping the tone we have established while
listening around the circle to other players for blend and balance.

Hold a Concert Bb thinking about how you specifically produce good tone on your instrument.
Remember who we need to listen to for a foundation.
Have students by a show of fingers 1-5 give a rating of our balance, blend, and intonation.

Assessments:

16
 1. The Conductor will have the students rate their balance, blend, and intonation on a scale
of 1-5 at the beginning and end of rehearsal.
2. Students will choose a minimum of 16 measures to record while explaining their
reasoning behind their choice and what they are doing to incorporate what we worked on
in class.

17
 Recording Assignment
1. Choose a minimum of 16 measures to record yourself playing
2. State your name, your instrument, and the measures you will be playing
3. Record those measures
4. Provide a vocal rationale as to why you chose those measures and what you will be doing
to improve your playing. Be sure to incorporate aspects of what we worked on in class
today
5. Record those measure again, incorporating what you just stated
6. Submit your recording to me by Friday before class starts

Recording Assignment Rubric

0 points 1 point 2 points Total

Measures Student did Student played Student played
not complete less than 16 at least 16
the assignment measures measures /2
Formatting Student did Student did not Student stated
not complete everything their name, their
the assignment directed: their instrument, and
name, the measures
instrument, and they will be
measures they playing
chose /2
First Recording Student did Student
not complete submitted their
the assignment first recording of
the measures
they stated /2
Rationale Student did Student provided Student provided
not provide a a rationale, but it a well-thought
rationale was not thought rationale that
through or did incorporated all
not incorporate required
all required elements
elements /2
Second Recording Student did Student Student
not provide a submitted submitted
second second second recording
recording recording, but and there was a
the there was no noticeable
change from the change that
first recording to incorporated
the second what they
regarding what discussed in

18
 they discussed in their rationale
their rationale /2
Total /10

Double all points to make assignment out of 100

19
Lesson #3 – Self-Assessment

Objectives:
1. Students will be able to demonstrate and improve their note and rhythmic accuracy.
2. Students will be able to maintain their balance, blend, and intonation.

Required Materials: Pencil, Self-Assessment Worksheet

Procedures:

Over the weekend I have been listening to a recording of us playing our run through of last
Thursday and found some specific things I want to address, so today we’re going to work on 2
spots: the intro and the percussion break

If at any point today you’re not playing while I’m working with a specific section, I would like
for you to either finger along or pat your rhythms at whatever section we’re at.

We’re going to start with measures 1- the downbeat of 9. I want all brass to play. Focus on
note accuracy, especially on the 8th and 16th notes.

Run 1-9 w/ brass. What were articulation like? Balance? Note accuracy will be an issue.

Isolate m. 1- downbeat m. 4

This time at measure 2 I want trumpet 2 and especially 3 to play out and I want trumpet 1 to
listen down to them and fit into their sound.

Rest of brass I want you to keep articulating well and providing good foundation. Tubas can play
out.

Run m. 1- downbeat m. 4 – Focus listening on trumpets

Trumpets, focus of pushing your tongue up to the “ee” syllable while making those leaps so your
air can be propelled through the instrument. When we get to the at half note I want all of you to
grow through it to get a running start on those 8th notes

Run that twice – Are they growing? Did that help?

Now we’re going to go to the 16th notes at m. 5 with everyone who has them.

We’re going to play all 5 notes you have there as quarter notes coming in on beat 1, and then
have 3 beats of rests, then do the same thing. We’re going to loop these notes a few times. Make
sense?

Do that ~3 times

20
Now we’re going to do the same thing but with 8th notes

~3 times

Now we’re going to do it as written, but loop it with 2 beats of rests between each rep

~3 times

I’m going to move onto the Percussion Break for a minute to give you guys a chop break and
then we’ll come back and put everything we worked on together

Perc Break

All I want to do here for today is have the bass drum be a little quieter. Let’s go through the
percussion break twice and solidify that change.

Go through twice

Just like you did here, I want the bass drum to be a little softer for the entire piece

Back to beginning

Now that you guys have had a break I want to run through the piece to put everything we’ve
worked on together and give Noah a chance to go through the changes we made on the bass
drum. While we are playing and thinking about what we did earlier today, let’s also think about
what we did Thursday. Be able to hear the people you were listening to on Thursday and keep
our 4 rating for balance, blend, and intonation.

Run Piece

Were you guys able to hear people that you could hear on Thursday?

Before you leave for the day, complete the worksheet given to you.

Assessments:
1. The Conductor will lead the ensemble through specific sections and provide them with
strategies to improve their note accuracy.
2. The Conductor will have the students listen for sections that they were able to hear in a
previous rehearsal and ask for feedback by completing the given worksheet.

For the worksheet, keep an open mind and remember that students do not have as trained an ear
as you do. If each blank has a thoughtful answer with effort, grade it upon completion. Use the
answers to help guide further rehearsals.

21
 Self-Assessment

Answer each of these questions for every chunk we go through:

 What were areas or specific parts in this chunk that went well for either you or the entire
ensemble?

 Where and what are some places that were troublesome or sounded weird for either you
or the ensemble? What do you think we could do to be proactive about those trouble
spots?

Chunk 1: mm. 1-40

Chunk 2: mm. 41-72

Chunk 3: mm. 73-120

Chunk 4: mm. 121-152

22
Lesson #4 – Creating a Story

Objectives:
1. Students will be able to apply imagery to enhance their musicality.

Required Materials: Pencil

Procedures:

Good Afternoon! I hope everyone had a good weekend!

Do you guys remember all the way back to the first rehearsal where I told you guys that I wanted
to make a story for this piece? Well, that’s what I want to start doing today!

We’re going to start today with a run-through and while we’re playing I want you to think about
the time of King Arthur and Merlin.

Run Through

Good! The rhythm we worked out on Thursday was clear and articulate. You guys probably
noticed me doing a few different things up here today. You’re all about to see why!

I told you guys to think about King Arthur and Merlin while we were playing. In the intro, I
think of the trumpet part as a bugle call from that time. If we’re in the time of King Arthur, what
would be the reason there would be bugle call? Battle

A battle! What weapon would they be using in battle? A Sword

Sword! They hear a bugle call and the Knights of the Round Table raise their swords and in the
A section they are preparing for battle! Once they are done preparing, what happens?

They have to go to the battle field! A’ is them travelling to the battle field.

Let’s go from the beginning to db 40 and image you’re one of the knights of the round table who
hears the bugle call, and you raise your sword to prepare for battle and then are travelling to the
battle field where you will make your kingdom proud!

Run beginning to db 40

I like the energy that I was hearing and the solid articulations! Make sure we keep listening back
and Tubas and low reed keep the support in your sound.

In this next section we start again with a trumpet call, and when you see an enemy and want to
warn your army, what do you do? Bugle call

23
More Bugle calls! They see the enemy, they give a bugle call to engage and the battle is
beginning! There are horses charging, swords clashing, and a lot of yelling.

The beginning of the B section is when the heat of the battle is occurring.

You know in movies where there’s these huge battle scenes and they go into super slow motion
when the last bad guy is brought down by a dramatic sword slash? That’s what I imagine is
happening when the low brass come in with the melody!

Then the trumpets come back in with another call to signal the battle is over, and the Knight of
the Round Table raise their swords in victory and everyone can go back home to celebrate!

Let’s go from the beginning through B and show through our playing the story we are creating

Run beginning through B

Now all of the soldiers are back home and the Kingdom has planned a celebration for them! Who
has seen A Knight’s Tale with Heath Ledger?

Think about the scene where I think he is still pretending to be Sir Ulrich von Liechtenstein and
they eat, there’s a speech, and then they dance. That’s what is all happening from C through the
Percussion Break.

In C they’re all having a nice dinner and the current royal family all dances. Then in C’ the
current King gives a speech about the history of the Kindom and how hopeful he was to end all
of the battles for his home, and that now it is time for everyone to find a partner to get up and
dance like the big dance scene in A Knight’s Tale. That dance is what happens in the Percussion
Break!

So like we’ve been doing, let’s go from the beginning through the Percussion Break to put the
music to the story, and then we can discover the finale of the story!

Run Beginning through the Percussion Break

Good dynamic difference in the trio! Clarinets can still come out more.

We’re coming to the end of our story. So in these Disney-like movies, there’s always a happy
ending. One of the Knights of the Round Table was Prince Arthur and his father lets him give a
speech. In the dramatic ritardando at m. 135 the Kind announces he wants the Kingdom to now
be in the hands of the next generation, and Prince Arthur becomes King Arthur! As always, there
has to be a speech about what the new King will promise. At the end of speeches what usually
happens? A Toast

A Toast!

24
King Arthur promises to rule the Kindom the same way his family raised him and proposes a
toast! Our last note are glasses coming together in a toast! That concludes our story! Let’s run
the entire piece again and use our instruments to tell the story that was just created.
I could hear a difference in our sound now that we have a picture to put with everything! Let’s
still work on our balance and intonation that’s we’ve established!

Assessments:
Students will complete the essay response, creating their own story to create imagery for the
piece.

During grading, keep an open mind and remember that each student sees and feel music
differently.

25
 Creating a Story
Essay Response

Like I created today, you will create your own story that goes along with A Toast to Honor. You
can write a story or draw a story with pictures with a written response. Provide at least a 1 page,
double-spaced response that addresses each chunk of the piece. In your response, be sure to
reference specific musical examples that support your story in every chunk of the music.

Response Rubric

0 points 1 point 2 points Total

Musical Examples Student did Student Student
not provide provided specific provided specific
specific examples from examples from
examples from the music to the music to
the music to support their support their
support their story for some, story for all of
story but not all of the the chunks
chunks /2
Chunk References The essay was Student Student
not completed included some, included all
but not all chunks in their
chunks in their story
story /2
Length The essay was The essay was The essay was at
not completed less than 1 page least 1 page in
in length length /2
Formatting The essay was The student
not double- followed the
spaced formatting
instructions and
double-spaced
their responses /2
Fluidity The essay was The student The story flows
not completed made and makes
or was not connections, but sense in
related to the not all of the association to
piece connections the music
were properly
explained /2
Total: /10

26
Lesson #5 – Rhythmi Accuracy

Objectives:
1. Students will be able to demonstrate and improve their rhythmic accuracy.
2. Students will be able to demonstrate and improve their note accuracy.
3. Students will complete a rhythm worksheet with 90% accuracy.

Required Materials: Pencil, Rhythm Worksheet

Procedures:

m. 23 and 39 Tuba and Bari sax (bring out)

Today what we’re going to be working on are rhythms

 For this some people are going to be in different spots than others, but everyone will have
the same two 16ths and three 8ths rhythm that starts on the & of 1

o Flutes, oboe, clarinets, and alto saxes I want at m. 47 – db 48

o Trumpets I want at m. 40 – db 41
o Everyone else minus bass drum I want at m. 57 – db 58
 Trumpets, for right now just make your half note G an accented 8th note.

 If we fix these specific spots in your groups it should all transfer over to other places in
our music. Keep that in mind as we go through this.

First, I want us to clap and count that rhythm with me.

 Now we’re going to air articulate the rhythm and finger our music at those measures with
what syllable? (ta)
o Focus on making the beginning of that syllable crisp.

Now I want to put the rhythm on the instrument. We’re going to start slow and speed up the
tempo.
 Trumpets, make sure you just make your downbeat on 41 is just an accented 8th note for
right now.
o Our goal is to make that rhythm articulate and crisp from when we were just using
our air and to solidify the note changes for the people who have those

80bpm
90bpm

At this tempo we’re going to have 4 different groups play what they have written at their specific
section and we’re going to have the ensemble vote on who had the best articulation and rhythm
and who had the best note accuracy

27
Group 1 will be everyone who is playing at m. 47 – db 48 (flutes, oboe, and clarinets, and altos)
Group 2 will be everyone who is playing at m. 40 – db 41 and snare where you are playing
(Trumpets and snare)
Group 3 will be the reed instruments who are playing at m. 57 – db 58 (Bass Clarinet, Tenor
Saxes, Bassoon, and Bari)
Group 4 will be the brass instruments who are playing at m. 57- db 58 (Horns, Trombones,
Baritones, and Tuba)

Vote

(insert group) play your spot again to model your articulation

(insert group) play your spot again to model your note accuracy

As we keep raising the tempo lets replicate the crisp and clear articulation and rhythm we were
hearing from (insert sections) and the note accuracy we were hearing from (insert sections).

100bpm
105bpm
110bpm
115bpm

Good! Thanks for bearing with me percussion! Now that we have these rhythms and notes
solidified let’s go from the beginning through the B section! What we’ve done here should
transfer to earlier parts.

Run Beginning through B

Our note accuracy and articulations are more clear and precise, just make sure we always plays
this way in other sections in the future.

I just want Bass Clar, T. Sax, Bsn, Bari, Baritone, Tbones, Tuba at mm. 48-51
 Goal is to solidify note accuracy and articulations.
o Start slow and then speed up
o 90, 100, 105, 110, 115
Everyone else who is not playing go through the B section and mark all of your accidentals and
even write in fingerings, there were still some missed notes

Run Beginning through B

Goal is to make 1 thing that was done poorly better

I am going to give you guys a rhythm sheet and you will audio record yourselves vocally reading
it. I am going to hand out a sheet with the directions on it and it will be due by Friday before
class starts.

28
Assessments
1. The conductor will have the ensemble vote on who had the best rhythmic accuracy and
then have students replicate what they heard.
2. The conductor will have the ensemble vote on who had the best note accuracy and then
have students replicate what they heard.
3. Students will complete a recording of themselves vocally reading the rhythm sheet that is
provided.

29
 Rhythm Worksheet

Record yourself reading the rhythm worksheet provided with a metronome playing in the
background. Set it from 90-120 bpm. At the beginning of the video state your name and what
bpm you will be reading your rhythms at. Have it sent to my email before class starts on Friday.

1 point per measure.

30
 ~ Warmup Strategies ~

 Daily Breathing
o This consists of students breathing in and out at various tempos, durations, and
dynamics to help them increase their breath control and lung capacity. We will
slowly increase the duration and slow down the tempo while increasing the
dynamic level with every other repetition. Students are challenged to maintain
airflow while evenly using all of the air through the different conditions that are
set, replicating what they are expected to do while playing their instruments.
 Dynamic Control
o To develop and demonstrate their ability to control their dynamics we will have
them play whole notes on a concert F or whatever pitch is needed. Each dynamic
will be given a number 1-5, 1 being piano and 5 being fortissimo. As we go
through the long tones we will decide what volume fits each number. Then, we
will continuously play long tones and a number will be given for each measure,
they will not know what is coming next, and will have to play at that dynamic
level with good balance and blend. As we get more comfortable we can add in
dynamic between different numerical values. This can then be transferred over to
the piece.
 Articulation
o This exercise will be used to develop the accurate representation of the different
articulation markings used throughout the piece: legato, staccato, and marcato.
Students will play the pitch and the rhythm the director indicates and recreate it
on their instruments while maintaining vertical alignment within the ensemble.
Legato will be defined as _______, staccato will be defined as throwing darts, and
marcato will be defined as bouncing a basketball.
 Rhythm
o The students will clap and count a rhythm sheet provided by the director that hits
rhythms they will use in the next concert block, but also the challenging rhythms
in the piece they are currently working on. First, students will clap and count the

31
 rhythms as a class, then divide into sections, clapping the rhythms in a round, and
then number off by 5s. This will create independent players by slowly increasing
fewer people around them that are doing the same rhythms.
 Function Chorale
o This chorale is made from the chorus of “Chandelier” by Sia. This will help the
students develop their ability to balance across the ensemble, phrase, and create
different textures as demonstrated in the piece they are currently working on. For
standard balance there are part assignments on the back of the function chorale.
After the students have balanced to that, we will have them listen for different
sections in the ensemble and have them switch parts to help develop their ears for
the balancing. Once students are comfortable enough, this could also be used to
work on improvisation.

32
 ~ Glossary of Musical Terminology ~

Articulation – how a note is shaped from the beginning, middle, and end. (EX: legato,

staccato, marcato)

Breath Mark ( , ) – signal of when to take a breath. Musical pause

Countermelody – a subordinate melody accompanying a principal one

Crescendo – signal of when to get louder

Decrescendo – signal of when to get soft

Div. (Divisi) – section of players should be divided into two or more groups playing different

parts

Harmony – he combination of simultaneously sounded musical notes to produce chords and

chord progressions having a pleasing effect

Majestically – with impressive beauty or scale

Marcato – performed with emphasis

March – musical genre with a regular rhythm and tempo

Melody – a sequence of single notes that is the principal part in harmonized music

Monophony – musical texture that has one line that is played by multiple voices/instruments

Motive – a distinctive feature or dominant idea in an artistic or literary composition.

Polyphony – musical texture that has multiple melodies

Rit... (Ritardando) – gradual decrease in speed

Staccato – performed with each not sharply detached or separated from others

Ten. (Tenuto) – articulation that denotes a note being held full length and a little bit more

33
 ~ Recordings & Suggested Listening ~
Recordings
Band Recordings
 Lamar University Wind Ensemble. Available on jwpepper.com

Suggested Listenings
 Works by Quincy C. Hilliard
o Bridgeway March (2001)
o Fuego de la Pasión (2017)
o Fanfare for Freedom (2009)
o Chant Ceremonium (2011)
o Center Stage March (2015)
 Works by other composers
o Liberty Bell March (1893) by John Philip Sousa
o Alamo March (1990) arr. Swearingen
o Allied Honor (1989) arr. Swearingen
o Brighton Beach (2001) by William P. Latham
o High School Cadets (2014) arr. Balent

34