MUSIC 670

Secondary Teaching Unit

Nightsong Richard Saucedo

High School Band
Teacher Guide

Alicia Jackson
November 30th, 2017
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Table of Contents
Introduction3
Objectives3
National Standards3

Score Analysis.4
Tracz Analysis8

Warm-Up and Activities......11

Warm-Up11
Sight Reading Activity12
Rhythmic Activity14
Melodic and Harmonic Activity.16
Formal Activity17
Contextual Activity..19

Resources..21

Assessment22
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Introduction
Nightsong
Richard Saucedo
Hal Leonard Corporation
Grade 3

Objectives
1. Students will identify the key, meter, and genre.
2. Students will perform 6/8 rhythms with even eighth notes and without dragging.
3. Students will demonstrate an understanding of melody and harmony through ensemble
balance.
4. Students will discover the form of the piece by analyzing the piece.
5. Students will create an individualized ballad (story) for the piece.

National Standards
MU:Pr4.2.E.la Demonstrate, using music reading skills where appropriate, how
compositional devices employed and theoretical and structural aspects of musical works
impact and inform prepared or improvised performances.
MU:Pr4.3.E.la Demonstrate an understanding of context in a varied repertoire of music
through prepared and improvised performances.
MU:Pr5.3.E.la Develop strategies to address expressive challenges in a varied repertoire
of music, and evaluate their success using feedback from ensemble peers and other
sources to refine performances.
MU:Pr6.1.E.la Demonstrate attention to technical accuracy and expressive qualities in
prepared and improvised performances of a varied repertoire of music representing
diverse cultures, styles, and genres. MU:Pr6.1.E.lb Demonstrate an understanding of
expressive intent by connecting with an audience through prepared and improvised
performances.
MU:Re7.2.E.la Explain how the analysis of passages and understanding the way the
elements of music are manipulated inform the response to music.
MU:Re8.1.E.la Explain and support interpretations of the expressive intent and meaning
of musical works, citing as evidence the treatment of the elements of music, contexts,
(when appropriate) the setting of the text, and personal research.
MU:Re9.1.E.la Evaluate works and performances based on personally-or-
collaboratively-developed criteria, including analysis of the structure and context.
MU:Cn11.0.T.la Demonstrate understanding of relationships between music and other
arts, other disciplines, varied contexts, and daily life.
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Score Analysis
Composer
Richard L. Saucedo was born December 2, 1957 and raised in Anderson, Indiana.
Saucedo did his undergraduate work at Indiana University and got his masters degree at Butler
University. He retired in 2013 after a 31-year career as Director of Bands at William H. Duke
Center for the Performing Arts at Carmel High School. Under his direction the Carmel High
School Marching Greyhounds were National Champions in 2005 and 2012 at the Bands of
America Grand National Championship and the Carmel High School Wind Symphony was
Indiana State Champion Concert Band in 2013. Richard L. Saucedo was inducted into the Music
for Alls Hall of Fame in March 2015 and was awarded Outstanding Music Educator in the state
of Indiana for 2010. Presently Saucedo stays very busy as Music coordinator and brass
composer/arranger for the Blue Stars Drum and Bugle Corps, Educational consultant for Music
for All and Bands of America, Member of the Conn-Selmer Division of Education. Saucedo is a
freelance arranger and composer for marching band arrangements, concert band and orchestral
works, and choral compositions. He travels throughout the country as an adjudicator, clinician,
and guest conductor for concert band, jazz band, marching band, and orchestra. He is currently
on the writing staff of Hal Leonard Corporation.

Composition
Nightsong is a slow, animated ballad for beginning band. The expressive, lyrical melody
is folk like. The unique yet beautiful harmonics of the piece create genuine musical moments
including the emotional peak achieved through the layering of instruments and the dramatic
dynamics.

Historical Perspective
Traditional ballads are considered folksongs that tell a story; the stories could be
histories, legends, fairy tales, animal fables, jokes, and tales of outlaws and star-crossed lovers.
Many of the ballads you hear in the United States originated in Europe. Many were composed in
the United States as well and continue to be composed for an audience eager to tell and hear
stories.
Despite the lack of text, the band world has taken the term ballad to label slow lyrical
wind band pieces that convey a story or idea. Most ballads for band will have a story attached to
it. Nightsong does not, this leaves the story telling up to the conductor and ensemble. It is
important for the conductor to have some sort of story or feeling they think of when performing
the piece in order for the conductor and ensemble to fully understand the style of the piece and
the piece as a whole.

Technical Considerations
Nightsong is considered a Grade 3 level in many state concert band lists. It requires
standard instrumentation. It also has an A Clarinet part but it is not necessary because it is almost
strictly doubled in the Bb Clarinet. There is also a Convertible Bass Line part but is not needed
because the Tuba, Baritone, and Trombone cover it.
The piece is written in a slow 6/8. This can cause the ensemble to push and pull at the
tempo. Most likely the piece will drag, internalizing the beat and subdividing will fix this.
Rehearsing the piece with either an electronic metronome or having certain students be the
metronome will help the ensemble feel the subdivisions. This in turn will help them internalize
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the beat when the metronome is taken away. Telling the ensemble to listen back to the
percussion especially the mallets will also be helpful because they are a metronome throughout
the entire piece.
The piece ends in piano, this can cause the pitch to suffer, being aware of this will help
students to individually adjust their instruments to counter this. Telling the ensemble that piano
does not mean less air will also help with their intonation. Another technique is to have the
ensemble play the ending as loud as possible with good tone. Then have them play it as written
with the same amount of air. This will give them the consciousness of how much air they need to
make the passage sound good.
The transition from the B section to the A section has a strange modulation from Bb
major to G Major. This will be tricky for beginning band; practicing a G major scale and taking
the passage slow will help.
All of the parts are in reasonable ranges for the instruments. Clarinets cross over the
break but that is understandable for this grade level. They will just need to work on seamlessly
crossing the break. Flutes are required to trill a high G to a high A. They are also required to be
soft in their upper register which will be hard for them but with lots of air support they will be
able to do it. Percussionist have written rolls for snare drum, bass drum, and suspended cymbal.
They need to strive for even rolls.

Stylistic Considerations
The articulations for this piece are strictly legato. About 90% of the piece is made up of
slur markings. Even when a passage is not slurred it should still be connected and smooth to
serve the ballad style. The attacks of notes should still be strong to help the piece move forward
and to clearly hear entrances of instruments. The releases of notes should also be clear but not as
strong or heavy as the attacks. The conductor can insure this through their conducting. The
conductor could also use rehearsal techniques such as having the ensemble bop all the notes to
hear if entrances are clear.
The dynamics applied in this piece range from piano to fortissimo. Crescendos and
decrescendos are notated for all of the instruments vertically except for measures 59 and 60
where only the percussion has a crescendo. The crescendos and decrescendos are mostly used to
dynamically shape bigger sections of this piece. Although not written the conductor should also
dynamically shape the eight and four bar phrases that make up the bigger sections of this piece
through facial expressions, left hand, and the size and style of the pattern.

Musical Elements
Melody:
There are three prominent melodies in this piece. In the A section the melody is sung through the
upper woodwinds first through the Clarinets in measures 19 to 26 then through the Clarinets,
Flutes, Oboe, and Alto Saxophones in measures 27 to 34.

M. 19-26
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M. 27-34

During the B Section, the melody is passed from the Alto Saxophones and Horns to the trumpets
in measures 35 to 42. In measures 43 to 51 a variation of this melody is passed back to the upper
woodwinds (Flutes, Oboes, Clarinets, and Alto Saxophones).

M. 35-42

M. 43-51

In the C section the melody is a call-and-response between Trumpets and upper woodwinds
(Oboe, Clarinet, Alto Saxophone) in measures 61 to 71.

M. 61-71
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Harmony:
With a single melodic line accompanied by a chordal harmony Nightsong is homophonic by
description. Throughout most of the piece the low brass and low woodwinds provide the chordal
harmonic structure. The piece uses traditional triadic harmony with a few seventh and ninth
chord tones to add color, for example the concert F# and A in measures 75 and 76. The piece
starts off in g minor then it traditional modulations to Bb major. Then the composer takes an
interesting turn by modulating to G major. Then finally the piece ends in the original key g
minor. Due to the chordal nature of this piece the conductor will have to address balance and
intonation of the major and minor triads throughout the piece. Singing passages, tuning
individual notes, and building the chords would be good techniques to address this.

Rhythm:
This piece is in 6/8 but is felt in two. The rhythms throughout this piece are simple and
repetitive. They are made up of eighth notes, dotted quarter notes, and dotted half notes only.
The difficulty of this piece is the tempo. It is not slow enough to conduct every beat but the slow
two pattern can cause confusion and dragging. To avoid dragging, the conductor needs to have
clear, concise icti and rebounds that have a triple meter feel. The ensemble also has to be held
responsible for internalizing the beat and subdividing. The repeated eighth notes in the mallet
percussion can be used as a metronome because they are playing almost the entire piece.

Timbre:
The overall timbre and texture of Nightsong is a full, warm sound. The clever use of ostinato
patterns at the beginning with Flutes, Alto Saxophones, and Mallet Percussion start the piece off
with a sweet yet yearning feeling. Mostly presented by the clarinets in their Chalumeau range, all
of the A themes have a relaxed yet somber feel to them. The B theme is presented by the
Trumpets in Bb Major, a key that compliments the Trumpets characteristic bright sound very
well. The C theme has a heavy full ensemble chordal texture; it continues to move the piece
forward with the driving Timpani and Bass Drum rhythm as well as the eighth note call-and-
response between the Trumpets and upper woodwinds. To create the overall rich, warm sound of
the piece the composer utilizes the dark low instruments, such as Bassoon, Bass Clarinet, Tenor
Saxophone, Horn, and Tuba, for the harmonic structure.
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Tracz Analysis
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Warm-Up and Activities

Warm-Up

This g minor scale warm-up is both a tonal and rhythmic exercise. Ways to use this warm-up
includes but not limited to:
Have students sizzle the eighth notes while clapping the dotted quarter notes.
Have students play the scale in only dotted half notes, focusing on intonation and
balance.
Have students play the warm-up as written, focusing on lining up the notes.
Have students find the harmonic chords within the piece, given a reduced score.
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Sight Reading Activity

Activity
So lets take a look at this piece shall we. This piece is called Nightsong by Richard L.
Saucedo. Take a few minutes to fill out the Key information about Nightsong worksheet, you
can work on it with the people around you. Step off of the podium and join the discussion.

Okay lets focus back up here, lets see what you came up with.

What key is it in? G minor What time signature is it in? 6/8

What genres did we come up with?

So this piece is a ballad. What is a ballad? What do you think a ballad is? Take a minute and
tell the person next to you what you think a ballad is. Step off of the podium and join the
discussion.

Step back on the podium. Okay now lets bring it back, who would like to share what they
said?

This is my answer: When I think of a ballad, one of the things I think of is a story. A piece of
music that tells a story. (If someone says something similar to this I wont say it)

How could we use this information when we sight read this piece?
Questions to help lead the discussion:
Remember in English when you learned about storylines; what does every good storyline
have? Beginning, building of tension (rising action), climax, falling action, resolution

When does the climax usually happen in a storyline? Right before the end, of the way
through, Do you think music works the same way? Yes
Why would it be helpful to know where the climax is at in a piece? We can save our
loudest dynamic for the climax.

Looking at your music where do you think the climax is at?

With this in mind lets go ahead and sight read this.

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Answer Key

Key Information about Nightsong

(Pun intended)

How many sharps and flats are in the key signature?

Concert Instruments: 2 flats

Bb Instruments: None
Eb Instruments: 1 sharp
F Instruments: 1 flat

What key is it in for your instrument?

Concert Instruments: g minor

Bb Instruments: a minor
Eb Instruments: e minor
F Instruments: d minor

What key is it in for concert pitch?

g minor

What is the time signature/ meter?

6/8

What is the tempo?

Dotted quarter note = 60

Based off this information what genre do you think this piece could be? (March, Waltz, Etc.)

Ballad
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Rhythmic Activity
Activity
Hand out g minor scale before rehearsal starts.

Have students stand up and stretch/twist on their own.

(use metronome to get the tempo in your head) Start tsking 8th notes, gesture for the ensemble to
join you

Cut them off and gesture for them to sit down.

can everyone get out their g minor scale sheet I handed out earlier

Play g minor scale handout.

Can everybody hiss their part at the beginning?

Hiss beginning to 18.

If the ensemble is not lining up tell them to work on vertical alignment: (Work on lining up the
notes up and down) then hiss it again.

Play it

Play beginning to measure 18.

So we just played that vertically, now lets play it horizontally, what do I mean by playing
horizontally? Shaping the phrase, moving together, etc.

Play beginning to measure 18.

Next we are going to sing measures 19 through 34 and I want you to focus on lining up the
notes vertically and shaping the notes horizontally at the same time. I know you are all great
musicians and can do this. YOU CAN DO IT!! Play your first note real fast to get the pitch in
your ear.

Sing measures 19-34.

If the ensemble is not lining up or singing in style tell them and do it again.

Play it

Play measures 19-34.

If I hear something strange, address and work on it.

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We are going to go back to the beginning and try to play the whole thing and I want you to
keep in mind everything we worked on today and apply it to the entire piece not just the sections
we worked on.

Play the entire piece.

For just this run through I want you to rate yourselves on a scale from 1 to 5, 1 being the
lowest, 5 being the highest, how did you personally do on vertical alignment? , horizontal
alignment?, how did the ensemble do on vertical alignment?, horizontal alignment?

Warm-Up
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Melodic and Harmonic Activity

Activity

I dont want you to answer. I want you to think about how do you know if you have the
melody or not? What determines the melody?

Hand out Melody V. Harmony worksheet.

We are going to play from measure 1 to 18 and I want you to be thinking and listening for
what instruments are the melody and what instruments are the harmony. Then Ill give you
time to write them down afterwards.

Play measures 1 to 18.

Silently write down what you heard, then well compare answers at the end Okay now play
measure 19 to 26.

Play measures 19 to 26.

Same thing as beforeOkay now measure 27 to 34.

Play measures 27 to 34, worksheet, etc.

Dont change your answers but compare answers with your neighbor.

Class chatter.

So here is what I got (Answer Key).

Answer Key
Melody v. Harmony
Measure M.1-18 M. 19-26 M. 27 - 34 M. 35-42 M. 43-51 M. 53-60 M. 61-71 M. 73-85
Clarinets,
Bassoon,
Clarinets, Flutes, Trumpets, Bass
Alto Clarinet 3,
Flutes and Flutes, Oboes, Oboe, Clarinets,
Saxophone, Tenor
Melody Alto Clarinets Oboe, and Clarinets, Clarinet, Bassoon,
Horns, Saxophone,
Saxophone Alto and Alto and Alto Flutes and
Trumpets Trombones,
Saxophone Saxophones Saxophone Alto
Baritone
Saxophone
Upper Timpani,
Low Low Low Woodwinds, Bass drum, Low
Trombones Trombone
Harmony Woodwinds, Woodwinds, Woodwinds, Low Low woodwinds,
and Tubas and Tubas
Low Brass Low Brass Low Brass Woodwinds, woodwinds, Low Brass
Low Brass low brass
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Formal Activity
Activity
Hand out form worksheet.

I am putting you on the spot right now but does anyone know what musical form this piece is
in, the worksheet I just handed out is a clue? Rondo ABACA

We are going to play through the entire piece and as were playing I want you to think about
where the different sections are.

Play entire piece.

Take a couple minutes and fill out the worksheet silentlyOkay we are going to play the
entire piece again and I want you to check what you wrote down.

Play entire piece.

Quickly make any changes you need toHere is what I got (Answer Key)

Keep this knowledge in the back of your mind because we will come back to it later, but for
now measure 35.
Play measures 35-72

We are going to work on this in smaller chucks. Where was the B Section again? 35-50
can I hear measures 35-50?

Play measures 35-50.

Make critiques on measures 35-50: work on correct notes, Melody (trumpets) need to come
out and everyone else needs to tone it down. Flutes and others who have the melody need to
come in on time.
insert rehearsal considerations

Technique: Only play if have the melody everyone else finger along with air patterns.
Sing the melody for them.

Showing me with your hands. one to five, one being the least, five being the most, how much
did you improve on this section?

where did the A section come back after the B section? 51-60

Play measures 51-60.

Make critiques on measures 51-60: work on correct notes (its in G Major now instead of g
minor),
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Technique: play a G Major scale, take melody note by note, take accompaniment note by
note Can I hear Bassoons, Clarinet 3, Tenor Saxophone, Trombone, and Baritone at 51?
We are going to take this one note at a time, first note, next note, etc.

Showing me with your hands one to five, how much did you improve on this section?

Where was the C section? 61-72

Play measures 61-72.

Make critiques on measures 61-72: call and response melody needs to come out, everyone
else shhhh! Work on correct notes,

Technique: only play when you have the melody everyone else finger along with air
patterns

Showing me with your hands one to five, how much did you improve on this section?

Play measures 49-53

Make critiques on measures 49-53: dynamics (crescendo), alto saxophones and horn play
out, work on correct notes (accidentals because it is modulating to G major)

Technique: flutes, oboe, cl, vibes, play it note by note

Play measures 35-72 again: repeat all the comments from earlier (Make sure you hear
MELODY!!)

If time allows it play the whole piece.

Showing me with your hands one to five, how much did you improve overall?

What sections did we play today? ABC So essentially we played the entire piece.

Answer Key
Form

Section Intro A B A C A
Measures 1-18 19-34 35-52 53-60 61-72 73-85
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Contextual Activity

Activity
First play a concert G and hold it, take a second to think about what note that is on your
instrument Play it

With good posture, air, and tone I want you to sing that note. Hold it tell it is balanced, in
tune, and has a good tone.

Okay, now play it like you sang it. Hold it tell it sounds the way they sang it.

Okay, now play the piece as written. I want you to focus on creating a good sound but I also
want you to start thinking about part one of the Draw your Story worksheet. Ill give you some
time to work on it after were done playing but think about where the different sections of the
story are as we play this time.

Play the piece again: about 3 min.

Take a few minutes to fill out the worksheet, you can work on it with the people around you.
Step off of the podium and join the discussion.

Now that you determined where each section of the story is in the music, we are going to play
the piece one more time and I want you to start thinking of images the music brings to mind.

Play the piece again: about 3 min.

For homework I want you to finish the draw your story worksheet. Ill send a recording of the
piece by email so you can listen to it when you work on it.

Here is an example of what I saw (show Batman video: mute the Batman video and use
Nightsong recording as the music, it fits perfectly)
(https://www.youtube.com/watch?v=_a3L242qYWo) and this is what I drew (show my
example).

Answer Key
Draw your Story
Part 1: Determine the measure numbers for each part of the story the music is telling. Consider
the dynamics, and the melodic and rhythmic ideas.
Beginning: Measures 1 to 26
Rising Action: Measures 27 to 52
Climax: Measures 53 to 72
Falling Action: Measures 73 to 80
Resolution: Measures 81 to 85
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Answer Key
Draw your Story
Part 2: Draw what you hear for each section. (Answers will vary.)
Beginning: Rising Action:

Climax:

Falling Action: Resolution:

Now that you know what your story looks like write the story in your journal.
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Resources
Literature
Miles, Richard B., et al. Teaching Music through Performance in Middle School Band. Chicago:
GIA Publications, 2015. Print. (pp. 590-594)
"Richard L Saucedo - Current Biography." saucedomusic.com. Web. 3/5/2017
https://saucedomusic.com/richard-l-saucedo-current-biography/
"Traditional Ballads." Web. 3/5/2017 https://www.loc.gov/collections/songs-of-america/articles-
and-essays/musical-styles/traditional-and-ethnic/traditional-ballads/

Recordings

Performed by the Hal Leonard Wind Orchestra

https://www.youtube.com/watch?v=qdprZIVvXnw

Suggested Listening

Forever Holding Close the Memories Richard Saucedo

Ye Banks and Braes OBonnie Doon Percy Grainger
Lincolnshire Posy Percy Grainger
Shenandoah Frank Ticheli
Rest Frank Ticheli
Yorkshire Ballad James Barnes
Sheltering Sky John Mackey
The Seal Lullaby Eric Whitacre
October Eric Whitacre
Requiem to A Land Forgotten Robert Sheldon
Air for Band Frank Ticheli
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Assessment
1. Teacher will assess the students knowledge of the key, meter, and genre through
the worksheet Key Information about Nightsong.
Answer Key

Key Information about Nightsong

(Pun intended)
How many sharps and flats are in the key signature?
Concert Instruments: 2 flats
Bb Instruments: None
Eb Instruments: 1 sharp
F Instruments: 1 flat

What key is it in for your instrument?

Concert Instruments: g minor
Bb Instruments: a minor
Eb Instruments: e minor
F Instruments: d minor

What key is it in for concert pitch? g minor

What is the time signature/ meter? 6/8

What is the tempo? Dotted quarter note = 60

Based off this information what genre do you think this piece could be? (March, Waltz, Etc.)
Ballad

2. Teacher will assess the students performance of 6/8 rhythms with even eighth notes
and without dragging through recorded performances.
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3a. Teacher will assess students understanding of melody and harmony through the
Melody V. Harmony worksheet.

Answer Key
Melody v. Harmony

Measure M.1-18 M. 19-26 M. 27 - 34 M. 35-42 M. 43-51 M. 53-60 M. 61-71 M. 73-85

Clarinets,
Bassoon,
Clarinets, Flutes, Trumpets, Bass
Alto Clarinet 3,
Flutes and Flutes, Oboes, Oboe, Clarinets,
Saxophone, Tenor
Melody Alto Clarinets Oboe, and Clarinets, Clarinet, Bassoon,
Horns, Saxophone,
Saxophone Alto and Alto and Alto Flutes and
Trumpets Trombones,
Saxophone Saxophones Saxophone Alto
Baritone
Saxophone
Upper Timpani,
Low Low Low Woodwinds, Bass drum, Low
Trombones Trombone
Harmony Woodwinds, Woodwinds, Woodwinds, Low Low woodwinds,
and Tubas and Tubas
Low Brass Low Brass Low Brass Woodwinds, woodwinds, Low Brass
Low Brass low brass

3b. Teacher will assess students understanding of balance through recorded

performances.

4. Teacher will assess students discovered knowledge of form through the Form
worksheet.

Answer Key
Form

Section Intro A B A C A
Measures 1-18 19-34 35-52 53-60 61-72 73-85

5. Teacher will assess the students creation of an individualized ballad (story) for the
piece through the Draw your Story worksheet.

Answer Key
Draw your Story
Part 1: Determine the measure numbers for each part of the story the music is telling.
Consider the dynamics, and the melodic and rhythmic ideas.
Beginning: Measures 1 to 26
Rising Action: Measures 27 to 52
Climax: Measures 53 to 72
Falling Action: Measures 73 to 80
Resolution: Measures 81 to 85

Answer Key
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Draw your Story

Part 2: Draw what you hear for each section. (Answers will vary.)
Beginning: Rising Action:

Climax:

Falling Action: Resolution:

Now that you know what your story looks like write the story in your journal.