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And Hold in Memory

By Dr. Johnnie Vinson



Grade: 3

Created by Hannah Michele Nunnenkamp

Kansas State University
Dr. Frederick Burrack










Teacher's Guide

Goals and Obj ectives/National Standards
1. To the student, a basic background about Dr. Johnnie Vinson, and Wesley Dunchof.
! Standard 9
2. Should be able to listen then evaluate music and how it influences or inspire them while listening.
! Standard 6
3. To give the student a firm understanding of the different rhythmic elements used in this piece and how
those rhythms are associated with the melodic and harmonic structure.
! Standard 5 and 6
4. The student should be able to recognize where the melody is located in the piece and what part is being
heard
! Standard 6
5. The student should be able to represent the melodic shape by listening to the melody and harmony.
! Standard 5, 6, and 7
6. The student is expected to know the terms found within the music and understand the application in the
music.
! Standard 6
7. The student should notate the form given to them in their music.
! Standard 7
8. The student is expected to prepare the material in the 'Practice Guide section, and be able to
successfully complete a playing test.
! Standard 2 and 5
9. Student should be able to understand how to compose a simple melody in the style of this piece.
! Standard 4 and 5
10. Student should understand and apply basic scales to help improvise a simple melody.
! Standard 3


MENC National Standards


1. Singing, alone and with others, a varied repertoire of music.
2. Performing on instruments, alone and with others, a varied repertoire of music.
3. Improvising melodies, variations, and accompaniments.
4. Composing and arranging music within specified guidelines.
5. Reading and notating music.
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.
8. Understanding relationships between music, the other arts, and disciplines outside the arts.
9. Understanding music in relation to history and culture.




Unit 1: The Composer


Johnnie Vinson is the Director of Band and Professor of Music at
Auburn University. He received a Bachelor of Science and master of
Education degrees in Music Education from Auburn, and a Doctor of
Arts degree in Music Theory from the University of Mississippi. Before
the nearly 400 published works, and 36 years career at Auburn he was a
Graduate Assistant at the University of Texas and University of
Mississippi.
Dr. Vinson started as the Assistant director of the Band and then the
Marching band before he became the Director of Bands in 1991. While
at Auburn, he conducted the Symphonic Band, oversaw the entire band
program, and instructed conducting and band arranging classes. He was
also the faculty sponsor of the Theta Lambda chapter of Tau Beta Sigma.
Outside of the University he has worked with the Hal Leonard Corporation who publishes all of his
music. Along with composing for Hal Leonard he worked as an adjudicator and clinician throughout the
US. Dr. Vinson is a member of many professional organizations, they include serving as the National Vice
President for Professional Relation for Tau Beta Sigma, Past President of the Alabama Music Educator
Association, former member of the board of Directors of the national Band Association, Past President of
Rho Chapter of Phi Beta Mu International Bandmasters Fraternity, MENC, Phi Mu Alpha Sinfonia, Kappa
Kappa Psi, and ASCAP. One of the most prestigious awards that Dr. Vinson has been given was being
elected to membership into American Bandmasters Association in 1994.



Johnnie Vinson Slideshow:

C:\Users\Hannah Michele\Johnnie_Vinson_Bio.pdf

==================================================================

Unit 2: Composition Wesley Dunchof was a normal 18 year old Senior at Dothan High School,
he was active in the Marching Band and Concert Band where is played trumpet. That same year Wesley
was diagnosed with Leukemia on October 1st 2004. Wesley`s spirit did not weaken when he was
diagnosed he kept going to school when he felt strong enough to and began advocating for all cancer
patients. During this time he shared his Iaith through a 'mustard seed ministry, helped obtain internet
service for every room in the Ronald McDonald house near the M.D. Anderson Cancer research Center in
Texas, and helped to bring much-needed medical equipment to his home town of Dothan.
During his life Wesley had always shown a passion for Auburn university and often wore a baseball cap
with Auburn`s logo on it. Sadly on August 28, 2005 almost a year after he was diagnosed Wesley passed
away. In the fall of 2005 shortly after Wesley passed away Marcie Ciecierski, assistant band director at
Dothan High School called Dr. Vinson and asked if he would consider wiring a piece in memory of
Wesley. At first he decline because of the already extremely busy load of commissioned works. As the
months passed Dr. Vinson had this reoccurring melody that kept playing in his head, this melody became
the main theme oI what is now called 'And Hold in Memory'. There are a lot of beautiful passages in this
piece that really make them meaning of this song special. Passages from the Auburn Alma Mater are in
the middle of the piece and the words in the second verse of the Alma
mater actually have become the title of this piece. Starting in measure 38
there is a trumpet duet that is very important because it is the main
melodic passage at that point in the piece, also because Wesley played
trumpet.

Warning: If the students so choose they may use the information from
their Student Guide to work on their Web-quest



====================================================


Unit 3: Historical Perspectives








Even though this piece is fairly new the message and story behind it is extremely important. Everyday
there are around 245,225 people in the united states who are living with Leukemia, and the messages that
people like Wesley are spearing can be shared everyday and with everyone. Music is the best way to
spread the word when it comes to a message that needs to be shared. Dr. Vinson and Marcie Ciecierski
were able to take a heartbreaking situation, and use it uplift and celebrate the spirit and ideals that Wesley
shared with them every day.

Each day we as musicians and performers have to interpret and understand different musical styles to
really play the music help our audiences understand what the music we play is about. Our duty as teachers
is to prepare each of our students by teaching how to interpret styles, and know the ways to understand the
music that we play during year school year. Below is an example of a lesson plan that teaches
interpretation.

Teaching Strategy: Style interpretation

Instructional Goal of the Strategy: Students are expected to use discriptive words to express what they feel
as we as how the music moves from beginning to end
Standards Addressed in Strategy: Standards 7, 8, 9.
Detailed procedures of Instructional Strategy and Assessment for successful achievement of goal:
1. Play three different styles of music (all that pertain to your piece)
YouTube Links:
a. Jazz Music: http://www.youtube.com/watch?v=bZTRmnCKLOw
b. Lyrical: http://www.youtube.com/watch?v=Uf2P_5ECBek
c. Classical Symphony: http://www.youtube.com/watch?v=l45DAuXYSIs&feature=related
2. Have them fill out the style intereperation work sheet below.


=====================================================================





Technical Considerations


This piece begins in Ab Major and there are a lot of moving lines and interval jumps in this piece, that
will need to be smooth and connected. With the Quarter note equaling 72 this piece will have a few
challenges. Intonation will be something that we will have to worry about because some of the instrument
such as the clarinets, trumpets, horns, and baritones are sometimes in the upper end of their range. There
are only a couple of other musical elements that will make this piece difficult to pull off these are key
change, meter changes, and changes in phrasing and dynamics. Throughout the piece there are areas that
some instruments may have trouble with the are as follows:



"#$%&'# ()* 1hls passage wlll be Lhe hardesL for Lhe clarlneL because Lhey have Lo use alLernaLe
slde-key flngerlngs because of Lhe qulckly movlng elghL noLes found sLarLlng ln
measure 13.
"#$%&'# (+* 1he vlbraphone ls exLremely lmporLanL Lo Lhls secLlon, before Lhls polnL lL has noL
be seen or heard ln Lhls plece and suddenly you have Lhe maln melody ln Lhls
vlbes.
"#$%&'# ,-./)*
1hls ls Lhe cllmax of Lhe plece and here you as Lhe lnsLrucLor noL only run lnLo
numerous meLer changes. 1hls are moves from 4/4, Lo 2/4, back Lo 4/4, Lo 3/4 and flnally
Lhls LranslLlon ends ln 4/4 once agaln. 1hese changes mlghL be dlfflculL for Lhe sLudenL Lo
grasp all Lhese MeLer changes so Lo help Lhem have a day where Lhey slgn and clap and
slng Lhese flve meLer changes

1-2-3-4/ 1-2/ 1-2-3-4/ 1-2-3-4-3/ 1-2-3-4

"#$%&'# /0*
ln Lhls passage Lhere ls a LrumpeL dueL LhaL ls very lmporLanL because lL ls Lhe
maln melodlc passage aL LhaL polnL ln Lhe plece, also because Wesley prlmary
lnsLrumenL was LrumpeL Lhe slgnlflcance of Lhe LrumpeL dueL ls very lmporLanL.

Below are some warm-up exercises that will not only address these situations, but will also help
fix potential problems that might comes up when working on this piece.

Warm-Up Exercises:

1. It is important to have control over the dynamics of this piece so practicing long tones and
learning how to properly

2. Below is a second warm-up that I would use for the whole band this will target the problems with
fingerings that the Clarinet and some flutes will have.



Form and Structure:
Into M.14 Upper woodwinds with trombone bass sound. Tension is being built with rhythmic
movement and downward interval jumps.

Section A Measures
5-13
This section is where the main melody is introduced. The melody is very rich, full and
alive with a dark deep sound. This darker rich sound is achieved through the use of
the middle voice instrument and no percussion. It is important that they melody is
boldly state so Dr. Vinson puts the main melodic theme in all the clarinets,
saxophones, and Horns this is very helpful because the high voices will carry while,
the horn sound can be projected outwards
Section
B:
Measure
13-21
As I listened to this piece along with reading more into the story of Wesley I began
hearing and finding new passages of this piece more moving and meaningful. The
moving eighth notes and absence of a true bass sound makes this area in the piece
uneasy which makes me wonder if Dr. Vinson was trying to convey the emotions of
Wesley and his family through out his leukemia battle. Wesley was a very spiritual
young man who wanted to share his faith and story with anyone who would listen and
the re-occurrence of the main melody that follows this uneasy B section to me feel like
Wesley, in the music, is saying everything is going to be okay.
Section
A:
Measure
21-29
Here we hear the restatement of the main melody with the full band minus the
percussion, this melodic area is extremely important because we have been building up
to it the entire song. This section need to be much more full and bright then the other
sections and with the addition of the Piccolo and Flute section this is easily achieved.

Section
C:
Measure
29-38
This Section is where the spirit of Wesley is really fused into the music. Wesley`s love
for the Auburn school is presented with little melodic parts of the Auburn Alma Mater
which can be heard in this section. This section is dynamically the most significant
section it ranges from p to ff and the entire band grows together and moves to one very
passionate Fermata. This also is where the entire band plays together for the first time
in the piece.
Section
A:
Measure
38-46
In this section the restatement of the melody and the main theme is very important to
me knowing that Wesley`s primary instrument is Trumpet. The texture oI the piece is a
trumpet Solo/Duet with very light low brass sound.

Section
B:
Measure
46-54
Dr. Vinson has a lot of reoccurring themes in this piece but I find it interesting how he
uses the most unlikely duets to reinvent them and make the sound completely new for
the listener. For example here in this reoccurring B section the reinvented melodic
lines are found in the Vibraphone and upper woodwinds.
Section A
with a
closing
Cadential
extension:
Measure
54-69
Here we have the full band sound which was built up from the section A starting in M.
38. If we were to looking a diagram of shapes that were determined by what
instruments were playing and how many were playing at that time you would be able
to see a diamond on it`s side, and this section would be the back halI oI the diamond.
Each instrument is slowly fading out from the fuller ensemble sound until they upper
woodwind fade away and the low brass finish the song at a rich yet piano dynamic. I
would like to think that this slow decay in sound and instrumentation is symbolic of
Wesley finally being at peace and rest.








Rhythm:
1. This piece rhythmically may not appear challenging but if you follow this link you will find that
there are many rhythms that are very important to phrase, dynamics, and melody.



=====================================================================


Explanation of Activities and the Answer Key to the Student Guide
Composer`s InIormation:

In this section I would like for you to read the information found about the composer in the slide show
about Dr. Johnnie Vinson. During the slide show you will be asked to fill in the blanks for each question.

1. During the beginning years of Dr. Vinson education he finished his undergrad work at Auburn
2. Hal-Leonard is Dr. Vinson's primary publisher they are responsible for publishing around 400 pieces of
his music.

3. During his time at Auburn Dr. Vinson began as Assistant director of band and Theory instructor.

4. While at Auburn Dr. Vinson was the faculty adviser of the Theta Lambda Chapter of Tau Beta Sigma

5. Dr. Vinson has served music in many ways during his time at he served the band in two main band
fraternities Phi Mu Alpha and Kappa Kappa Psi.



Form Exercise


In this exercise the student is supposed to focus on the musical form Rondo. Rondo form has a
recurring theme alternating with different (usually contrasting) sections called episodes. It may be
asymmetrical (ABACADAEA) or symmetrical (ABACABA). A recurring section, especially the main
theme, is sometimes more thoroughly varied, or else one episode may be a development of it. A similar
arrangement is the ritornello form of the baroque concerto grosso. Arch form (ABCBA) resembles a
symmetrical rondo without intermediate repetitions of the main theme.
From this definition I would like you to write a poem in Rondo form because this is "And Hold in
Memory" is symmetrical I would like you to make your poem in Symmetrical Rondo form as well. Below
is an example of a Poem in Rondo Form by Paul Laurence Dunbar.

WE wear the mask that grins and lies, (A)
It hides our cheeks and shades our eyes, (A)
This debt we pay to human guile; (B)
With torn and bleeding hearts we smile, (B)
And mouth with myriad subtleties. (A)
Why should the world be over-wise, (A)
In counting all our tears and sighs? (A)
Nay, let them only see us, while (B)
We wear the mask. (C)
We smile, but, O great Christ, our cries (A)
To thee from tortured souls arise. (A)
We sing, but oh the clay is vile (B)
Beneath our feet, and long the mile; (B)
But let the world dream otherwise, (A)
We wear the mask! (C).

John Phillipe Rameau: Minuet
http://www.youtube.com/watch?v=GSxEzcXTWDs&feature=related

Poem Rubric:

I ncomplete-3 Fine-5 Superior-7
I dea Idea is
unclear or
unfocused
May include
random
ideas.
Focuses on a
single idea.
Idea may be
understandable,
but still fuzzy
Presents a
fresh, original
idea
Focuses on an
idea, feeling,
or experience
Uses specific,
concrete
images
Organization Sequencing is
illogical, or
not evident.
Sequencing is
logical
The poetry form
has been
followed with
few or no
errors.
Uses a logical,
effective
organizational
strategy.
Poem uses
form to
interpret idea
creatively and
effectively
Word
Choice
General or
ordinary
words
Attempts new
words with
limited
success
may include
inappropriate
words or
limited use of
vocabulary
Attempts to use
descriptive
words to create
images
Tries to use
words for
specificity
Experiments
with new and
different words
with some
success
Precise,
original, fresh
words
Creates vivid
images


=========================================================================
Music Performance Assessment:

The Following rhythms will be covered in class and will be your responsibility to learn
individually. Each rhythms is important to the entire piece, and is also important to how you as the
student performs the music in class and in on the Concert. The passage that these examples come from are
below, each Monday we will have a playing quiz over one of the selected rhythmic passages.

Number 1: Measure 16 and 17 in your music
Number 2: Measure 1-3 in your music
Number 3: Measure 4-13 in your music

EXTRA CREDIT ALERT: On the playing test if you would like to you may re-arrange the notes
in the passage to make a new Melody but you have to use the same rhythms. To make it successful I
would print off sheet music at http://people.virginia.edu/~pdr4h/musicpaper/


Letter Grade with
Points
A B C D R-Retake
Rhythm/ Meter/ Tempo No Mistakes Perfectly
consistent
pulse with only
1 or 2
missed
rhythms and/
or scales
slightly
under tempo.
Tempo was
correct, but
missed a few
rhythms.
Tempo was
unstead and
only half of
the rhythms
were correct
Unsteady
rhythms, all
rhythms were
incorrect
Articulation No Mistakes Almost all of
the
articulations
are
correct. Missed
articulations
are
minimal
Several
articulations
are incorrect
and/or
several
tongue/finger
alignment
problems.
Many
articulations
are incorrect
and/or
severe
tongue/
finger
alignment
problems.
Almost all
articulations
are
incorrect.
Musicianship/ Tone
Quality
Plays with
phrasing, good
tone quality,
and is in tune
Very musical,
however there
are
some slight
problems
with tone
quality and/
or there are
occasional
mistakes
in phrasing,
dynamics,
other
musical
markings.
Tone quality
needs
improvement
and/or
several
mistakes in
phrasing,
dynamics, or
other musical
markings.
Poor tone
quality
and/or very
little
attention paid
to
phrasing,
dynamics,
or other
musical
markings.
Very poor tone
quality and/or
no
attention paid
to
phrasing,
dynamics,
or other
musical
markings.




Terminology Review


Crescendo-A gradual increase, in volume or intensity in the sound of a musical passage
Decrescendo-Gradually diminishing force or loudness
Mezzo Piano- Dynamics normally refers to the volume of a sound or note
Piano- In dynamics is to play soft or quite with little intensity
Forte- In dynamic is to play strongly with focused intensity
Solo- Where one plays alone
Tenuto-A tempo mark directing that a note or passage is to be held for the full time
A Tempo-To return back to the original tempo
.

Web-CuesL:
hLLp://slLes.google.com/slLe/andholdlnmemory/

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