MUS 3440

INSTRUMENTAL METHODS I
L AU R A R O T H S FA L L 1 5

Unit Plan

Snake Charmer by Randall Standridge

Slovenian Folk Songs arr. Ralph Ford
Aztec Fire by Jay Bocook

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Ta ble of Cont ents

Pro g ra m & Pro g ra m Notes3
Basic Info r ma tion: Snake Char mer..4
Fo r m a l A n a lys i s : S n a ke C h a r m e r . . 5
B a s i c I n f o r m a t i o n : C a j u n Fo l k S o n g s . . . . . 6
F o r m a l A n a l y s i s : C a j u n Fo l k S o n g s . . 7
Basic Information: Aztec Fire.8
Fo r m a l A n a lys i s : A z t e c F i r e . 9
G l o s s a r y o f T e r m s . .1 0 - 1 1
M a j o r C o n c e p t s / S k i l l s R e q u i r e d t o P e r f o r m Wo r k s 1 2 - 1 3
R e h e a r s a l C a l e n d a r & O b j e c t i v e s . .1 4 - 2 4
S i m i l a r Wo r k s 2 5
Resources26

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P rog ram
Snake Charmer by Randall Standridge
C aj u n Fo l k S o n g s b y F r a n k T i c h e l i
A z t e c F i re by J ay B o c o o k

P r o g r a m Not e s
We b e g i n t o n i g h t s a d v e n t u r e i n t h e A r a b i a n P e n i n s u l a .
Sn ake Ch armer in tro du ces us to a Persian scale,
t r a n s p o r t i n g l i s t e n e r s t o a n c i e n t d ay s w h e n s n a k e s d a n c e d
on street corners for their masters. The bands opening
mi mi c s a me l o dy pl aye d by s na ke ch a r me r s o f th i s ti me .
The following energy comes from the crow d watch ing the
pe r for mancethe exci te ment of seeing a snake, and the
thrill of seeing it tamed.
C aj u n Fo l k S o n g s c a p t u r e s t h e h e a r t o f a N o r t h A m e r i c a n
culture. Descende d from Nova Scotia, the Cajun people
we r e dr i ve n ou t of th e i r ho me s by F r e n ch s ettl e r s , a n d
resettled in Louisiana.

Each song receives its own

m ove m e n t i t s ow n c o mp l et e , s e l f - c o n t a i n e d s e c t i o n . T h e s e
n e a r an d d e a r t u n e s c a pt u r e n ot o n ly th e C aj u ns o r i g i n a l

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c u l t u r e , b u t a l s o s h o w t h e i n fl u e n c e o f A m e r i c a n l i f e u p o n
their culture and music.
We e n d t o n i g h t s j o u r n e y w i t h a l i t t l e A z t e c F i r e .
Originally writ ten for mar ching band, this wo rk follows a
traditional Spanish march style. Using syncopation
( b e g in n i n g a n ote b et we e n two be a ts ) a n d exc i ti n g
har monies, this piece will propel you through energetic
f a n f a r e s , c o n t r o l l e d b u l l fi g h t s , m a r i a c h i m u s i c , a n d t h e
t r u e fl a i r o f a u n i q u e c u l t u r e .

B a s i c I n fo r m a t i o n : S n a k e C h a r m e r
T itle : Snake Char mer
Composer : Randall Standridge
Arranger/Transcriber/Editor : N/A
Publisher: Grand Mesa Music Publishers
Grade: 2+
S t y l e ( s ) : M y s t e r i o u s , S e r p e n t i n e ( f a s t ) , S l o w ( d ay d r e a m ) ,
and A g g ressi ve.
Key(s): This piece is based more upon a Persian scale than
common practice harmonic language.
Meter(s): common time throughout
Te m p o I n d i c a t i o n ( s ) : q = 90, q =150, q = 80, q =164, q =70 or q
= 170
Per fo r ma nce T ime: 5 40- 6 20, depen din g on en din g
t a ken a n d te mpi per fo r me d

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Instr umentation : Flute, (optional) oboe, Bb Clarinets 1-2,

A l t o S a x , T e n o r S a x , B b T r u m p e t s 1 - 2 , H o r n i n F,
E u p h o n i u m / B a s s o o n , L o w Wo o d w i n d s / T u b a , M a l l e t s ( b e l l s ,
x yloph on e) , Pe rcu ssion 1- 3 ( bon gos, win d ch imes, bass
drum, suspended cymbal, tambourine, maracas, triangle),
a n d T i mp a n i .
Full or Condensed Score: Full score
Transposed or Concert Score: Transposed Score
Range Concerns: high F in tubas
Un u s ua l R equ i r em en t s : I n det e r min a te glis s an di in
tro mb on e an d ti mpa n i, ch oos in g a s low or fa st ta g

Fo r m a l A n a ly s i s : S n a k e C h a r m e r
Analysis: Musical Description
Theme 1 and variations: ominous,
Arabian scale
Theme 1, 2, & variations
Theme 1

Section

Measures

1-40

41-86

87-95

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Themes 1, 2 & variations

96-148

Coda Option 1: Slow ending

Coda

149-155

C o d a O pt i o n 2 : Fa st E n d i n g

Coda

149-160

Fo r m : A B A B C o d a

B a s i c I n fo r m a t i o n : C aj u n Fo l k S o n g s
T i t l e : C a j u n Fo l k S o n g s
Composer: Frank Ticheli
Arranger/Transcriber/Editor: N/A
Publisher: Manhattan Beach Music
Grade: 3

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S t y l e ( s ) : F l o w i n g , f a s t a n d b o u n c y, l e g a t o , g r a n d i o s e .
Key(s):
Meter(s): 2/4, 5/4, 4/4, 3/44
Te m p o I n d i c a t i o n ( s ) : q = 63, q =152-160 (amended to
q =40,

q = 160-168),

q =88

Per fo r ma nce T ime: 6 30

Instr umentation: Piccolo, Flutes 1-2, (optional) Oboes 1-2,
(optional) Bassoons 1-2, Bb clarinets 1-3, Bb Bass Clarinet,
( o pt i o n a l ) E b C on t ra b a ss C l a r i n et , Eb A l t o S a xo p h o n e s 1- 2 ,
B b Te n o r S a xo p h o n e , E b Ba r i t o n e S a xo p h o n e, B b T r u mp et
1-3, F Horns 1-2, Trombones 1-3, Euphonium, Tuba,
Ti mpan i, Percu s s ion 1- 3 (x yloph on e, ma ri mb a , s ma ll
suspended cymbal, sand blocks, medium/large triangle,
castanets, tambourine, four tom-toms, bass drum).
Full or Condensed Score: Full score
Transposed or Concert Score: Transposed score
Range Concerns: N/A
Un u s ua l R equ i r em en t s : t r u mpet mu te s , tro mb o n e mu te s

Fo r m a l A n a ly s i s : C aj u n Fo l k S o n g s
Analysis: Musical Description

Section

Measures

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I n t r o d u c t i o n o f fi r s t t u n e , La Belle et le
Capitane, in alto sax solo.
T une developed
R e t u r n t o o r i g i n a l m e l o d y, b u t n o w
w i t h m a ny vo i c e s .
Development
E n d i n g t a g : m o d i fi e d m e l o d y a n d
fading chords.

1-17

18-49

50-55

56-71

Coda

72-74

Intro

1-5

Introduction of second tune, Belle,

w i t h b o u n c y rhy t h m i c o st i n a t o s i n
tr umpets and percussion.
Introduction of melody in solo
tr umpet, repeated (and fragmented)

6-36

37-82

83-92

i n fl u t e s a n d t r o m b o n e s .
Whole band receives main melodic
idea and develops it. Sound gets
f u l l e r, d a r k e r a n d m o r e d i s s o n a n t ,
which alternates with light
r e s t a t e m e n t s o f t h e m a i n m e l o d y.
Completely n ew downward r uns
Legato horn line with recap of

original melody in tr umpets.

R eturn of opening material, and all
s t a t e m e n t s o f m a i n m e l o d y.

93-101

B A C

102-119

Coda

120-132

C o d a : m a i n m e l o d y a n d m a ny
d e v e l o p m e n t s c o m e t o g e t h e r.

B a s i c I n fo r m a t i o n : A z t e c F i re

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Title: Aztec Fire

C o mp o s e r : J ay B o c o o k
Arranger/Transcriber/Editor: N/A
Publisher: Hal Leonard
Grade: 2
S t y l e ( s ) : w i t h fi r e , m a r i a c h i , n o b l e , m a j e s t i c
K e y ( s ) : g m i n o r, b u t w i t h m a ny a c c i d e n t a l s t o g i v e t h e
p i e c e L a t i n c o l o r a n d b l u r c o m m o n p r a c t i c e t o n a l i t y. T h e
key signature never changes, but the t onal cen ter changes
t o C , F, C , b a c k t o G , b a c k t o C , t h e n e n d s o n a n F.
Meter(s): common time throughout
Te mp o I n d i c a ti o n ( s ) : q

= 132, q

= 144

Per fo r ma nce T ime: 2 15

Inst r umenta tio n: Flex Ban d; Par ts 1- 5 plus percu ssion
( s n a r e d r u m , b a s s d r u m , c r a s h c y m b a l , b e l l s , s h a k e r,
b o n g o s , a n d t i mp a n i )
Full or Condensed Score: Full
Transposed or Concert Score: Transposed Score; while
my s c o r e i s c o m p l e t e f o r w h a t e v e r r e a s o n , t h e r e a r e s t i l l
o n l y fi v e d i ff e r e n t m u s i c a l l i m e s
R a n g e C o n c e r n s : M a ny h o r n n o t e s a b o v e m i d d l e C ,
t r o m b o n e s h i t a n E b a b o v e t h e s t a ff , c l a r i n e t r u n s t h a t
cross the break,
Un u s ua l R equ i r em en t s : N/ A

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Fo r m a l A n a ly s i s : A z t e c F i re

Analysis: Musical Description

Introduction

Section

Measures

Intro

1-13

14-29

30-47

48-56

56-62

A Section: Staccato, though not as

fl a s h y a s o p e n i n g .

First theme is

introduced over a syncopated

ostinato.
B Section: Style Contrast (legato,
almost delicate) and T r umpet/par t
1 Duet
O p e n i n g S t y l e , B u i l d u p t o fi n a l
melodic strains
Bring back opening theme
Qui ck tempo and dynamic contrast
to enhance excitement
Fo r m :

Coda
I n t r o A B A
A Coda

62-end

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G los s ar y of Ter ms
A c c e n t - A stress or special emphasis on a beat to mark its position in the
measure
A c c i d e n t a l - A mark placed before a note which indicates that the previously
understood pitch of the note should be altered by one or two half steps
(semitones)
B r e a t h M a r k / C o m m a - A directive to the performer to break the phrase at
that point in the composition and breathe, thus assisting in the production of a
smooth phrase consistent with the composer's wishes
Choke-to stop a percussion instrument from resonating.
C o m m o n t i m e - 4/4 time.
C o n f u e g o - w i t h fi r e
C r e s c e n d o - A directive to a performer to smoothly increase the volume of a
particular phrase or passage.
C u e s - n ote s p l aye d b y a n oth e r i n st r u m e n t m a rk e d i n yo u r
part.
D e c r e s c e n d o - A directive to a performer to smoothly decrease the volume of
the specific passage.
D i v i s i - A directive in ensemble music that instructs one section
of instruments to divide into two or more separate sections, each performing a
separate part

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D o t t e d n o t e - A note that has a dot placed to the right of the notehead,

indicating that the duration of the note should be increased by half again its
original duration.
F l a t - An accidental symbol placed to the left of a note, indicating that its
pitch should be lowered by a semitone (half step).
Fo r t e - A directive in music to perform the indicated passage loudly
Fo r t e p i a n o - A dynamic marking (usually abbreviated as fp) directing the
performer to attack the written note at the dynamic level of forte (loud)
followed by an immediate decrease in volume to piano (soft)
Fo r t i s s i m o - A directive to perform the indicated passage very loudly
symbolized by "f". Louder than forte "f".
G l i s s a n d o - A rapid ascending or descending of the scale
L e g a t o - A directive to perform the indicated passage of a composition in a
smooth, graceful, connected style, as opposed to staccato
M a r c a t o - Marked, accented, emphatic, stressed.
Mf-mezzo forte, medium loud
Mp- mezzo piano, medium qui et
N a t u r a l - A symbol placed by a note signifying that the note should be
played unaltered as opposed to the sharp or flat of the note
P i a n o - Dynamic marking meaning quiet or softly
P i M o s s o - A directive to perform the indicated passage of a composition
with more motion, or faster.
R i t a r d a n d o - A directive to perform the indicated passage of a composition
with a gradual slowing of the tempo, or to gradually delay the tempo
s F ( F ) z - A directive to perform the indicated note or chord of a composition
with particular emphasis. The note or chord would be performed as if it had
an accent
S h a r p - A symbol placed in front of a notehead which implies that the
performer should raise the pitch of that note by a semitone.

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13

S i x t e e n t h N o t e s - A note having the time duration of one sixteenth of the

time duration of a whole note.
S l u r- A sign in musical notation consisting of a curved line drawn over or
under a series of notes, indicating that those notes should be played legato.
The slur also indicates the grouping and phrasing of a passage in a
composition.
S t a c c a t o - A style of playing notes in a detached, separated, distinct manner,
as opposed to legato
T i e - A curved line drawn over or under the heads of two notes of the same
pitch indicating that there should be no break between them but they should
be played as a single note.
T r i l l - An ornament that consists of rapid alternation between one tone and
another tone either a step or a semitone away from the first tone.

R equired Concepts / Sk ills

I.

Snake Char mer

a . A c c i d e n t a l s : fl a t s , s h a r p s , n a t u r a l s
i . T e a c h s t u d e n t s t o p l ay P e r s i a n s c a l e .
i i . A p p ly u s e o f a c c i d e n t a l s t o p l ay i n g
chromatic scale.
b. Marcato accents
i . Vo c a l i z e m a r c a t o v i a m a r- c a -T O t o m i m i c
the sound produced on instr uments.
i i . P l ay a l i s t e n i n g g a m e : s t a c c a t o v. m a r c a t o ,

II.

band members demonstrating each style.

C aj u n Fo l k S o n g s

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a. Stylistic Contrast
i . P l ay t h e t h e m e f r o m J aw s b y e a r ; n o t o n ly
w ill th i s impr ove th e in ton ation of major
seconds, but it will also demonstrate the
d i ff e r e n c e b e t w e e n s l u r r e d n o t e s a n d
s t a c c a t o s v e r y e ff e c t i v e ly.
i i . Fo l l o w t h e c o n d u c t o r ; t h e i n s t r u c t o r
conducts in a cer tain style, and students
m u s t p l ay a g i v e n fi g u r e i n t h e a p p r o p r i a t e
s t y l e . T h e y m u s t a l s o WA T C H f o r c h a n g e s !
b . C o n fi d e n c e o n i n d e p e n d e n t p a r t s
i . P l ay i n g i n r o u n d s ; fi r s t b y S AT B p a r t , t h e n
by sec tion , th en by in div idu al.
i i . I s o l a t e t h e p a r t , g a i n c o n fi d e n c e o n i t s o w n ,
then put it back with the rest of the
ensemble.
III. Aztec Fire
a . S y n c o p a t e d r hy t h m s
i . P l ay s t e a d y e i g h t h n o t e s , t h e n t a k e aw ay t h e
fi r s t e i g h t h n o t e .
i i . M a k e s y n c o p a t e d r hy t h m s t i e d / s l u r r e d
r hy t h m s i n w h i c h e a c h b e a t s d i v i s i o n i s
v i s i b l e . H av e s t u d e n t s a r t i c u l a t e t h e e i g h t h
n o t e o n t h e b e a t , t h e n h av e t h e m s l u r i t ,
t h e n e l i m i n a t e a r t i c u l a t i o n e n t i r e ly.
b . D o t t e d e i g h t h - s i x t e e n t h n o t e r hy t h m
i . U s e w o r d s d ay t o - d ay t o g e t r hy t h m .

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i i . P l ay s t r a i g h t 1 6 t h n o t e s , t h e n l e g a t o t o n g u e
t h e fi r s t t h r e e , t h e n s l u r t h e fi r s t t h r e e .
T h i s r hy t h m i s t h e s a m e a s a d o t t e d e i g h t h sixteenth.
c . K e e p i n g i n t e n s i t y w h i l e p l ay i n g l e g a t o
( e s p e c i a l ly w i t h d y n a m i c s )
i . P l ay a d y n a m i c g a m e ; h av e s t u d e n t s p l ay a
l e g a t o fi g u r e a t a d y n a m i c l e v e l f r o m 1 - 5 ( p ff ) . S e c t i o n t h a t c a n k e e p t h e b e s t l e g a t o
style winsbragging rights.
i i . P l ay s c a l e s l e g a t o w h i l e p e r f o r m i n g
crescendos/decrescendos.

R ehe ars al Plan/ O bjectives

We e k O n e

P i t c h & R hy t h m

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M o n d ay

16

Wa r m - u p : P l ay s c a l e s B b m aj o r,
I n t r o d u c e t w o e i g h t h - s i x t e e n t h r hy t h m ,
as we ll as sy nc o p a tio n , th e n tu n e.

T u e s d ay

S i g h t - r e a d A z t e c F i r e s l o w ly
Wa r m - u p : I n t r o d u c e c h r o m a t i c s c a l e
P l ay c o n c e r t C s c a l e i n 2 - 3 - 4 b e a t s ,
anticipating meter changes, and then
tune.
Introduce concept of half steps, and
syncopate them.

We d n e s d ay

S i g h t - r e a d C aj u n Fo l k S o n g s
Wa r m - u p : R e v i e w c h r o m a t i c s c a l e .
P e r f o r m a u r a l e x e r c i s e s i nv o l v i n g h a l f
s t e p s , s u c h a s t h e t h e m e f r o m J aw s ,
then tune.

T h u r s d ay

S i g h t - r e a d S n a k e C h a r m e r.
Wa r m - u p : P l ay i n g c h r o m a t i c s c a l e w i t h
s y n c o p a t e d r hy t h m s . R e v i e w n o t e s , i f
n e c e s s a r y. T h e n , t u n e .
Practice Aztec Fire, going over the
o p e n i n g f a n f a r e ( m a k i n g r hy t h m s p r e c i s e
a n d t o g e t h e r, e s p e c i a l ly h i g h v o i c e s
e i g h t h - t w o s i x t e e n t h r hy t h m s ) .
P r a c t i c e S n a k e C h a r m e r , e s p e c i a l ly t h e
l o w v o i c e s r hy t h m s a t m . 4 9 & a l t o / t e n o r
voices at 68, & ever yone at m. 86 (Though
m o r e e x a mp l e s t h r o u g h t h e w o r k , t h e y a r e

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F r i d ay

17

repetitions of the previous ideas.)

Wa r m - u p : P l ay c h r o m a t i c s c a l e b y s e c t i o n
a s a f o r m o f p l ay i n g t e s t . T h e y w i l l a l s o
p l ay a c o n c e r t F s c a l e ( v a r y i n g h o w m a ny
quar ter notes each note gets), then tune.
S t u d e n t s w i l l p l ay t h e b e g i n n i n g s e c t i o n
of Snake Charmer, using the chromatic
s c a l e t o fi n d c o r r e c t n o t e s .
S t u d e n t s w i l l p l ay C a j u n Fo l k S o n g s ,
d r aw i n g f r o m t h e p r e v i o u s d ay s l e s s o n o f
syncopation.
I f t i m e , s t u d e n t s w i l l p l ay A z t e c F i r e ,
a d d r e s s i n g t h e l a t e r s e c t i o n s r hy t h m s
and notes.
Students will journal about which
n o t e s / r hy t h m s t h e y s t i l l fi n d d i ffi c u l t ,

Achieved

a n d h ow t h e y m i g h t i mp r o v e .
- S t u d e n t s w i l l p l ay a l l p i e c e s w i t h a l m o s t

objectives

c o mp l e t e r hy t h m i c a n d p i t c h a c c u r a c y
- S t u d e n t s w i l l b e a b l e t o p l ay a o n e o c t av e c h r o m a t i c s c a l e .

We e k T w o
M o n d ay

Ar ticulation & Style

Wa r m - u p : S t u d e n t s w i l l p l ay c o n c e r t C
sc ale w ith le gato ar tic u la tion , th en tu n e.
S t u d e n t s w i l l p l ay C aj u n Fo l k S o n g s ,
f o c u s i n g o n t h e l e g a t o s t y l e o f t h e fi r s t

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movement.
S t u d e n t s w i l l p l ay t h e b e g i n n i n g o f S n a k e
T u e s d ay

Charmer, focusing on legato ar ticulations.

Wa r m - u p : S t u d e n t s w i l l p l ay a c o n c e r t B b
scale, focusing on accents, then tune.
S t u d e n t s w i l l p l ay t h e o p e n i n g ( 1 - 2 1 ) a n d
closing of Aztec Fire (m. 48-end) , utilizing
accents and tenuto markings. Students
will then ad dress slurs, ensuring a review

We d n e s d ay

o f t h e p r e v i o u s d ay s l e g a t o s t y l e .
Wa r m - u p : S t u d e n t s w i l l p l ay a c o n c e r t F
scale, introducing the staccato style, then
tune.
S t u d e n t s w i l l a p p ly t h i s s t y l e t o t h e
s e c o n d m o v e m e n t o f C aj u n Fo l k S o n g s .
S t u d e n t s w i l l b e g i n d i ff e r e n t i a t i n g s t y l e s
b y p l ay i n g e x c e r p t s f r o m b o t h m o v e m e n t s

T h u r s d ay

o f C aj u n i n q u i c k s u c c e s s i o n .
Wa r m - u p : A r t i c u l a t i o n g a m e ! S e c t i o n s
will be selected to per for m on a concer t Bb
scale to a given ar ticulation. The rest of
the band must guess that articulation.
Students will give respectful feedback.
Then, they will tune.
T h e b a n d w i l l p l ay e x c e r p t s o f S n a k e
Charmer (m. 13-29, m. 57-68),
d e m o n s t r a t i n g e a c h s t y l e b e f o r e p l ay i n g

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19

o n e i m m e d i a t e ly a f t e r a n o t h e r.
T h e b a n d w i l l p l ay A z t e c F i r e ,
d e m o n s t r a t i n g d i ff e r e n c e s b e t w e e n l e g a t o ,
F r i d ay

tenuto, and marcato styles.

Wa r m - u p : A r t i c u l a t i o n g a m e a g a i n , b u t
c a l l i n g o n d i ff e r e n t s e c t i o n s . ( T h i s g a m e
m ay a c t a s a f o r m o f a p l ay i n g t e s t . )
Students will then tune.
S t u d e n t s w i l l a d d r e s s a ny i s s u e s w i t h t h e
e x e c u t i o n o f p r e v i o u s ly c o v e r e d m a t e r i a l .
Selections that present problems will be
selected to demonstrate/refresh students
m e m o r i e s o f t h e d i ff e r e n t a r t i c u l a t i o n s
covered.
Students will write brief descriptions
a b o u t e a c h s t y l e , n o t i n g a ny s i m i l a r i t i e s o r
d i ff e r e n c e s t h e y n o t i c e , a n d t u r n t h e m i n

Achieved

at the end of class.

- S t u d e n t s w i l l d e m o n s t r a t e s l u r r e d v.

Objectives

tongued articulations
-Students will demonstrate staccato,
legato, marcato, and accented
articulations
- S t u d e n t s w i l l a p p ly t h e s e c o n c e p t s t o
execute appropriate styles and
articulations to the music.

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We e k T h r e e
M o n d ay

20

Intonation
Wa r m - u p : S t u d e n t s w i l l p l ay a B a c h
chorale. This time, when students tune,
they will be asked to identify whether they
a r e fl a t o r s h a r p .
S t u d e n t s w i l l p l ay m o v e m e n t o n e o f C aj u n ,
b e g i n n i n g a t m . 6 7. O n l o n g c h o r d s ,
students will be asked to build chords from
the bottom up, listening to their section
and adjusting (with help from the
i n s t r u c t o r ) a c c o r d i n g ly. T h e c h o r d w i l l t h e n
be put back into context.
Students will be assigned a pitch tendency

T u e s d ay

c h a r t , t o b e fi l l e d i n b y F r i d ay.
Wa r m - u p : S t u d e n t s w i l l p l ay a C s c a l e i n
rounds, adjusting their intonation
according to the directors instr uction.
Students will tune, identifying whether
t h e y a r e fl a t o r s h a r p a n d , w i t h d i r e c t o r s
a s s i s t a n c e , a d j u s t a c c o r d i n g ly.
Students will tune their augmented
seconds.
S t u d e n t s w i l l p l ay S n a k e C h a r m e r ,
ensuring that those inter vals are in tune.
Students begin adjusting intonation in
relation to the entire band.

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21

T h e b a n d w i l l r e v i e w C aj u n , a p p ly i n g t h e
We d n e s d ay

tuning of inter vals.

Wa r m - u p : S t u d e n t s w i l l p l ay a B b m aj o r
s c a l e i n r o u n d s . T h i s t i m e , e mp h a s i s w i l l
be p lac e d o n tu n ing t o you r se c tio n a s we ll
as the entire band.
Students will tune the middle section of
A z t e c F i r e , fi r s t w i t h t h e s u s t a i n e d c h o r d s ,
then the soloists. Tuning on unison
r hy t h m s w i l l f o l l o w t h i s .
Students will review Snake Charmer ,
tuning chords at m. 28 41, 48, and those

T h u r s d ay

that occur in the ostinato.

Wa r m - u p : S t u d e n t s w i l l p l ay a B a c h
c h o r a l e , a p p ly i n g t h e c o n c e p t o f l i s t e n i n g
across the ensemble. Students will then
tune.
Tempi of piec es (& exc er pts) w ill be
increased while ensuring that musicality is

F r i d ay

n o t a ff e c t e d .
Wa r m - u p : S t u d e n t s w i l l p l ay a B a c h
chorale, then tune.
S t u d e n t s w i l l p l ay t h r o u g h t h e i r c o n c e r t
program from beginning to end, hear it
p l ay e d b a c k t o t h e m , a n d j o u r n a l a b o u t
th in g s th at we n t we ll, as we ll as h ow to
i mp r o v e ( b o t h t h e b a n d a s a w h o l e a n d

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t h e i r ow n p e r f o r m a n c e ) .
Students will hand in their pitch tendency
Achieved

char ts.
- S t u d e n t s w i l l p l ay m o s t ( i f n o t a l l )

Objectives

sections of music in tune.

-Students will begin to hear their own
intonation issues.
-Students will adju st them selves when they
are out of tune.

We e k Fo u r
M o n d ay

Intonation & Dynamics

Wa r m - u p : S t u d e n t s w i l l p l ay a B a c h
chorale, changing dynamics ever y phrase
while maintaining intonation. Students
will then tune, asse ssing whether they are
s h a r p o r fl a t , & a d j u s t i n g t h e m s e l v e s u n t i l
they are in tune.
S t u d e n t s w i l l p l ay s e c t i o n s o f p i e c e s t h a t
r e q u i r e c o n s i s t e n t d y n a m i c s ( i . e . C aj u n m .
5 3 - 6 7, 1 2 - 2 2 ( m o v e m e n t 2 ) , 3 7 - 7 4

T u e s d ay

(movement 2), Aztec m. 1-14, 26-40, etc.)

Wa r m - u p : S t u d e n t s w i l l p l ay a n u m b e r s
g a m e . E a c h d y n a m i c b e t w e e n p p & ff w i l l
be given a number (0-5). The director will
h o l d u p a n u m b e r, a n d t h e s t u d e n t s w i l l
p l ay t h e c o r r e s p o n d i n g d y n a m i c . T h i s w i l l
be used to teach/review crescendos and

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d ec r e sc e n d o s, as we ll a s main ta in ing g o o d
tone in soft passages.
S t u d e n t s w i l l p l ay e x c e r p t s f r o m p i e c e s
that contain crescendos and decrescendos
( i . e . m o s t o f S n a k e C h a r m e r , C aj u n m . 2 2 2 8 , c r e s c e n d o i n t o 3 7, m . 7 1 - 7 4 , a n d
crescendo at 6 before the end &
decrescendo at 2 before m. 26 of Aztec
We d n e s d ay

Fire.)
Wa r m - u p : S t u d e n t s w i l l w a r m u p w i t h a
Bach chorale, continuing concepts of
listening across the ensemble and again
following the director s dynamic cues.
S t u d e n t s w i l l r e v i e w p r e v i o u s ly c o v e r e d
sections of music where intonation &
d y n a m i c s w e r e i mp o r t a n t , t h e n a p p ly i t t o

T h u r s d ay

entire pieces.
Wa r m - u p : C s c a l e i n r o u n d s . T h e d i r e c t o r
w ill ch an ge t empi th r oug h ou t.
S t u d e n t s w i l l p l ay a c h r o m a t i c s c a l e i n
u n i s o n , w i t h f o c u s o n t o n e q u a l i t y.
S t u d e n t s w i l l t u n e , a d j u s t i n g t h e i r ow n
instr uments.
S t u d e n t s w i l l c o n t i n u e b u mp i n g u p t h e
t e mp i o f p i e c e s ( w h e r e n e c e s s a r y ) w h i l e

F r i d ay

maintaining good fundamentals.

Wa r m - u p : A f t e r a B a c h c h o r a l e , s t u d e n t s

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w i l l p l ay a c o n c e r t B b a t d i ff e r e n t d y n a m i c
l e v e l s , c a l l e d o u t b y t h e d i r e c t o r. T h i s
w i l l a s s e s s h ow w e l l t h e s t u d e n t s
know/understan d /can execute dynamic
contrast, and allow the students to test
t h e i r i n t o n a t i o n a t d i ff e r e n t d y n a m i c s .
S t u d e n t s w i l l b u mp u p a ny r e m a i n i n g
t e mp i , t h e n r u n t h r o u g h p i e c e s a n d w o r k
on tran s itio n in g t e mp o ch an ge s ( betwe e n
movements of the Ticheli, within Snake
C h a r m e r ( m . 4 1 , 8 7, 9 6 , 1 5 0 , 1 5 6 ) , a n d t h e
subtle change in measure 54 of Aztec Fire).
As p r e p arat io n fo r nex t we e k , stu d e n ts
will write about how music make s them
f e e l , a n d i f d i ff e r e n t m u s i c m a k e s t h e m
Achieved

f e e l d i ff e r e n t w ay s .
-Students will adju st their own in tonation

Objectives

issues.
- S t u d e n t s w i l l b e a b l e t o d e fi n e a n d
per for m the following dynamics with nice
t o n e : p p , p , mp , m f , f , ff
- P i e c e s w i l l b e u p t o t e mp o

We e k F i v e
M o n d ay

Expression and Balance

Wa r m - u p : B a c h c h o r a l e , t h i s t i m e w i t h
s t u d e n t s p l ay i n g s l i g h t ly l o u d e r w h e n t h e y
h av e a m o v i n g l i n e . T u n e b u i l d i n g f r o m

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25

t h e b o t t o m u p , f o l l o w e d b y a c h o r d p l ay e d
t o g e t h e r.
S t u d e n t s w i l l r e a d t h r o u g h C aj u n Fo l k
Songs, identifying the melodic line(s)
(those with the main theme) and bringing
them to the foreg round. The band will be
T u e s d ay

encouraged to listen for prominent lines.

Wa r m - u p : B a c h c h o r a l e , f o c u s i n g a g a i n o n
w h o h a s t h e m e l o d y.
S t u d e n t s w i l l t u n e i n t h e s a m e w ay a s
y e s t e r d ay.
Students will read through Aztec Fire and
Snake Charmer, using similar processes to
identify melodic lines and balance them
a c c o r d i n g ly.

We d n e s d ay

Wa r m - u p : S t u d e n t s w i l l p l ay a B a c h
c h o r a l e , l e d t o p l ay p e a k s o f p h r a s e s a s a
means of introducing expression.
A s a n e x a m p l e o f e x p r e s s i v e p l ay i n g , a s
we ll as p rac tic e fo r st age n e r ve s, so lo i st s
f r o m a l l t h r e e p i e c e s w i l l p l ay f o r t h e
class. This modeling will be used to
encourage discussion and expression in
o t h e r p l ay e r s . Fo r e x a mp l e , t h e m o d e l i n g
o f S n a k e C h a r m e r s o p e n i n g fl u t e s o l o m ay

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26

be applied to clarinets and horns who

r e c e i v e t h e l i n e i m m e d i a t e ly a f t e r.
S i m i l a r ly, h e a r i n g t h e t u n e o f e a c h
m o v e m e n t o f C aj u n Fo l k S o n g s w i l l a l l o w
T h u r s d ay

f o r u n i fi e d e x p r e s s i v e q u a l i t i e s .
Wa r m - u p : B a c h c h o r a l e , w i t h f o c u s o n
peaks of phrases and intonation of the
ch o rale s ch ord s, fo llowe d by tun in g .
Stu den t s w ill work t owards u n if y in g styles
i n A z t e c F i r e a n d C aj u n Fo l k S o n g s , a s

F r i d ay

w e l l a s c h a n g i n g s t y l e s t o g e t h e r.
Wa r m - u p : B a c h c h o r a l e , w i t h f o c u s o n
dynamic contrast, intonation, and
phrasing. Then, students will tune.
Students will address how dynamic
c o n t r a s t c a n a ff e c t a p h r a s e i n S n a k e
C h a r m e r a n d C aj u n Fo l k S o n g s .
Students will run through their concert

Achieved

program.
-Students will balance elongated chords

Objectives

found in their music

- S t u d e n t s w i l l u s e p r e v i o u s ly l e a r n e d t o o l s
to create expressive phrase s
-Students will bring melodies to the
foreg round and other lines to the
background throughout their rep.

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We e k S i x
M o n d ay

27

C o n c e r t P r o c e d u r e & R u n -T h r o u g h s
Wa r m - u p : S t u d e n t s w i l l p l ay a B a c h
chorale and a chromatic scale.
During this process, students will be asked
t o e x e c u t e d i ff e r e n t a r t i c u l a t i o n s ,
dynamics, etc.
Students will then tune, demonstrating
t h e i r s e l f - s u ffi c i e n c y i n t h e p r o c e s s .
The b and will then refresh themse lves on
a ny a r e a s t h a t h av e b e e n p r o b l e m a t i c i n

T u e s d ay

th e p ast 1. 5 we e k s.
Wa r m - u p : S c a l e s : c h r o m a t i c , B b , C , F.
Students will rehearse in the concert
venue. Students will r un through all
possible pieces, adjusting note length and

We d n e s d ay

balance as necessar y for the hall.

Wa r m - u p : B a c h c h o r a l e , r e m i n d i n g
students of the halls acoustics.
Students will rehearse in the concert
venue again. Students will per for m the
c h a n g e s a d d e d t h e p r e v i o u s d ay, t h e n r u n
through as much of the concer t prog ram

T h u r s d ay

as possible.
C o n c e r t D ay !
Wa r m - u p : B a c h c h o r a l e
In the concer t venue, students will
practice setting up, entering the hall,

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28

spot- check a few problem areas, and then

F r i d ay

practice exiting the hall.

S t u d e n t s w i l l l i s t e n c r i t i c a l ly t o a
recording of the previous nights concer t,
bearing in mind the elements of music
addressed through the rehearsal process.
S t u d e n t s w i l l fi r s t j o u r n a l , t h e n d i s c u s s
w ith th e cla ss w h at we n t we ll, an d wh at
t h e b a n d c a n i mp r o v e u p o n f o r t h e n e x t

Achieved

concert.
- S t u d e n t s w i l l s u c c e s s f u l ly t r a n s i t i o n

Objectives

from piece to piece, per for ming ever y key

c h a n g e , s t y l e c h a n g e , e t c . t o g e t h e r.
- S t u d e n t s w i l l c l e a n ly e n t e r a n d e x i t t h e
stage.
-Students will practice appropriate
concer t etiquette.
- S t u d e n t s w i l l l i s t e n c r i t i c a l ly a n d g i v e
appropriate feedback.
-Students will achieve all previous
o b j e c t i v e s , a n d p l ay a g r e a t c o n c e r t !

Similar Work s
By Standridge: A Carmen Christmas, Extremis,
C o m p a n i o n o f M y Vo i c e

L a ura R oth Uni t P la n

By Ticheli: Abracadabra, Amen!, A Shaker Gif t Song

B y B o c o o k : N o r t h Fa c e , G a p C r e e k , L o s t M o u n t a i n
By R o ger S ch midli : A Crack i n th e Ice
By Lyall McDe r m ot t : Th e Ch armer
B y Yo G o t o : C a p r i c c i o o n T h r e e J a p a n e s e C h i l d r e n s
Songs, Zui-Zui

29

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30

R es ources
Aztec Fire (Concert Band Arrangement). Aztec Fire (Concert Band
Arrangement). YouTube/Devin Blackwood, 7 July 2008. Web. 15 Dec.
2015.
Cajun Folk Songs by Frank Ticheli. Perf. North Texas Wind Symphony.
Cajun Folk Songs by Frank Ticheli. YouTube/WindBandCentral, 8 Jan.
2015. Web. 15 Dec. 2015.
Floury, Alexander. "Unit and Lesson Plans." Alexander Floury. N.p., n.d.
Web. 15 Dec. 2015.
"OnMusic Dictionary." OnMusic Dictionary. Connect for Education Inc.,
n.d. Web. 15 Dec. 2015.
Snake Charmer by Randall D. Standridge. Snake Charmer by Randall
D. Standridge. YouTube/WindBandCentral, 21 July 2014. Web. 18 Dec.
2015.
Standridge, Randall. Snake Charmer. New York: McLoughlin Bros.,
1900. Randallstandridge.com. Web. 15 Dec. 2015.
Ticheli, Frank. "Virtual Scores." Www.VirtualScoreSystem.com.
Manhattan Beach Music, n.d. Web. 15 Dec. 2015.