Teacher Guide

The Dragon Prince, Rick Kirby

Designed for Middle School/Lower High School

Jessica Brummel
 UNIT INTRODUCTION

Title: The Dragon Prince

Composer/Arranger: Rick Kirby
Publisher: Hal Leonard
Grade Level: 2.5

LEARNING GOALS (Instructional Objectives) AND RESPECTIVE STANDARDS

 Students will apply the melodic, harmonic, and rhythmic concepts from their warm
up/practice guide to the rehearsal and performance of the piece.
o 2: performing on instruments, alone and with others, a varied repertoire of music
o 5: reading and notating music
 Students will recognize when other players have the melody/more important part and
play under and defer to the more important line.
o 6: Listening to, analyzing, and describing music
 Students will cultivate an internalization of eighth note pulse that transcends duple and
triple meters.
o 2: performing on instruments, alone and with others, a varied repertoire of music
o 6: listen to, analyze, describe music
o 5: reading and notating music
 Students will make cross-curricular connections between music and literature through
historical texts of myths, fables, and fairy tales.
o 8: Understanding relationships between music, other arts, and disciplines outside the arts
o 9: Understanding music in relation to history and culture
 Students will discover and identify phrase shapes in the piece and apply their knowledge
to their dynamic phrasing.
o 2: performing on instruments, alone and with others, a varied repertoire of music
o 5: reading and notating music
o 6: listen to, analyze, describe music
 Students will develop a stronger foundation of control over their instrument at loud and
soft dynamics.
o 5: reading and notating music
 Students will assess and evaluate their own performance recording using higher-order
thinking.
o 7: evaluate music and music performances
o 6: listen to, analyze, describe music
 Students will use non-musical adjectives to describe each section of the piece.
o 8: Understanding relationships between music, other arts, and disciplines outside the arts
 Students will utilize the understanding of the form of this piece to impact musical
elements and attributes in performance.
o 7: evaluate music and music performances
o 6: listen to, analyze, describe music
 Students will discover how texture and timbre are used to enhance the overall musical
effect of this piece.
o 7: Evaluating music and music performances
o 8: Understanding relationships between music, other arts, and disciplines outside the arts
 Students will create an 8 bar composition using their instruments and Garage Band.
o 4: Composing and arranging music within specified guidelines
 o 3: Improvising melodies, variations, and accompaniment
SCORE ANALYSIS

Unit 1: Composer

Rick Kirby was born in Boston in 1945 and was educated in the New England area. After

arriving in Wisconsin in 1974, he taught at several high schools and universities. He retired from

public school teaching in 2001 to pursue a full time career as a composer and arranger. Before

retirement, Mr. Kirby's last public school teaching position was at Waukesha West High School.

Mr. Kirby has arranged or composed for many marching bands, including groups from

Wisconsin, Illinois, Kansas, Ohio, Arizona, and California. He is presently the staff arranger for

the award winning Sound of Sun Prairie Marching Band and the Wisconsin State Champion

Waukesha West High School Marching Band. Mr. Kirby has also been involved in many

commissioning projects for concert bands, jazz ensembles, chorus, and other ensembles. His

music is published by Daehn Publications, Hal Leonard, and Arrangers' Publishing Company. He

presently directs the Waukesha Area Symphonic Band and the Carroll College Jazz Ensemble.

He is also the associate conductor of the Youth Wind Orchestra of Wisconsin.

Kirby is the Wisconsin Music Educators Association's 2002 recipient of the

Distinguished Service Award. This award is given to a music educator for lifelong meritorious

service, excellence, and dedication to music education in Wisconsin. He is also the Phi Beta Mu

(Wisconsin chapter) Outstanding Band Director for 2007. Most recently an article about his

composition Different Voices was featured in Volume 7 of GIA Publication's series Teaching

Music Through Performance in Band.

Unit 2: Composition

This engaging and programatic work follows the ancient tale of a handsome young prince

forced (through evil sorcery) to live part of his life as a dragon. He marries the beautiful Griselda
under the condition she never try to uncover his dark secret. Fate and curiosity intervene and she

discovers his scaly and hideous identity only to be banished from his kingdom forever. When on

this journey away from his kingdom, he realizes he can be himself, and that it is better than

anything he had at the kingdom.

The music takes on the feel of a movie soundtrack as the legend unfolds in grand fashion.

With a significant portion of the fast section scored in 6/8, the music effectively spans emotions

ranging from the dramatic, to tenderness, to majestic.

Unit 3: Historical Perspectives

Even though the piece is copyrighted in 2016, the story is set in the middle ages, and

sometimes shows likenesses to renaissance-era melodies and harmonic structures. The “maiden’s

theme” especially at the beginning has a renaissance-counterpoint structure to it at times. The

harmonic progression is very predictable, just like this time period as well. However, the piece

does take on a movie-like sound throughout with so many phrasing dynamics, unique sounds,

and horn and timpani solos.

Unit 4: Technical Considerations

Rick Kirby really knows how to score equal grade levels for each part, making the entire

piece extremely educational. If your brass are struggling with anything faster than a quarter note,

this piece will be a good challenge for them. However, if you have really technically proficient

woodwinds, this piece will not be difficult technically, but more demanding in tuning and

playing in-tone. The trumpet part isn't technically challenging, but it goes into a higher range

than many of them might have seen before. Percussion is not extremely difficult, other than

needing precise vertical alignment.

 There are frequent meter changes, from 3/4, to 4/4, to 6/8, to 9/8, etc. Young musicians

might struggle with this, but it is a great way to introduce these concepts! What a learning

opportunity!

Unit 5: Stylistic Considerations

The beginning of the piece starts with a slow and stoic melody in the high woodwinds.

It’s a very regal and royal introduction to the piece, and sets the story. The regal melody is

elaborated from measures 11-21 where it takes a more free feeling.

All of a sudden, at measure 21, the piece takes a drastic style turn. It transforms into

anger for a few bars before a decrescendo into a sad longing. The low brass and low woodwinds

create the anger through their eighth notes in measure 23. The longing is created in the solos in

this section: both through the horn duet and flute and clarinet solos. This section ends at measure

33.

At measure 33, the piece takes another immediate turn to a fast and mysterious section of

the piece. The section starts with a marimba solo that carries the tempo. Clarinets sneak in with

their melody line 8 bars later, and the full ensemble is 8 bars after that. Players are added bit by

bit to not only add to the dynamic crescendo, but to also to add more harmonic layers into the

mix. A regal fanfare from the trumpets at 67 cuts the mysterious melody that has been growing

up until this point. At measure 83, the beginning opening theme is introduced again, but

elaborated. Now instead of feeling the theme in 3/4, it’s in 9/8. This first theme only lasts for a

few bars before the same trumpet fanfare carries us back to the mysterious second big theme.

At measure 101, everyone is playing, and the most people have the unison melody.

Unit 6: Musical Elements

 Kirby spins the melody around in each of the instruments after each theme is stated for

the first time. This allows the melody to function both as accompaniment and a counter-melody

at times when it is played in a round. The Dragon Prince demonstrates programatic writing to

recreate the image and feelings of a banished/lonesome prince, a fair and regal maiden, and the

story that plays out between them. The biggest musical challenge of this piece is to shift

immediately stylistically and to create very vivid and real emotions from the page to the listener.

Unit 7: Form and Structure

There are two main sections of the work, “The Maiden’s Theme” at the beginning and

“The Dragon’s Theme where the 6/8 section begins. The form is AB. For a more in-depth look,

see Grid Analysis.

GRID ANALYSIS-THE DRAGON PRINCE

Composition __The Dragon Prince__

Composer __Rick Kirby__
Measure # 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

Form
Section A theme a Section A theme a'
Phrase
Structure

Tempo
76bpm 76bpm
Dynamics
mp < mp < mf f mf<
Meter/Rhythm

Tonality
Eb Major Eb Major
Harmonic
Motion IAC IAC IAC IAC IAC
Orchestration add bassoon, b. clar,
upper woodwinds timpani, horn full orchestration only upper ww
General warmer still, serene, overjoyed, triumphant,
Character peaceful, serene, dignified dignified ecstatic questioning, unsure, still
Means for The half notes carry The half notes carry a more unsure
Expressio more weight and give more weight and give running notes are the harmonic progression
n lilt lilt happy melody leads to uneasiness
Conducting
Concerns
give more emphasis to give more emphasis to
half notes half notes 4/4 time facials: happy facials: questioning
Rehearsal
put emphasis on long play "mysteriously",
Consideration
notes, make them go have short notes play go somewhere w long
tuning is crucial somewhere to uncover melody notes
Composition __The Dragon Prince__
Composer __Rick Kirby__
Measure # 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40

Form Section A response Section A second

Section A theme b to theme b response Ostinato Transition
Phrase
Structure

Tempo
82bpm 76bpm 70bpm 120bpm
Dynamics
ff >mp >p pp mf >mp
Meter/Rhythm

Tonality
C minor c minor c minor c minor
Harmonic i chord for
Motion c min PAC HC No harmonic motion, only perc
Orchestration
full orch fl, cl, tpt solo horn solo only marimba
General extremely angry, sorrowful, longing, sorrowful,
Character vengeful, scary hopeless hopeful determined, purposeful, traveling
Means for a menacing low brass
Expressio at fortissimo creates fl, cl, tpt solo horn solo marimba ostinato creates a
n power creates longing gives hope determined and purposeful change
Conducting
Concerns
cue low meld and stretch to cue marimba,
cue horn brass get longing cue horn be clear look at clarinets
Rehearsal
make sure listen to only
Consideration
gain control of have them watch horn note practice this percussion to
fortissimo conducting speaks transition lock in

Composition __The Dragon Prince__

Composer __Rick Kirby__
Measure # 41 42 43 44 45 46 47 48 Page
49 2 50 51 52 53 54 55 56 57 58

Form
Section B theme a Section B theme b
Phrase
Structure

Tempo
120bpm 120bpm
Dynamics
mf >mp mf mf < f
Meter/Rhythm

Tonality
c minor c minor
Harmonic
Motion no harmonic motion, only ostinato HC PAC
Orchestration
clar add flutes added bassoon, euph, b clar, b sax enter
General mysterious, mysterious, otherworldly,
Character determined, determined powerful, mysterious, determined, passionate
Means for
Expressio clar ostinato flute ostinato adds the first strain of the main theme occurs,
n adds mystery suspense and creates more suspense
Conducting
Concerns

cue clarinets cue flutes bring out the accents and conduct the music!
Rehearsal
make this
Consideration
clarinet line lead work on these huge flute bring out the accents and play the line! Be
somewhere skips the dragon
Composition __The Dragon Prince__
Composer __Rick Kirby__
Measure # 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82

Form
Section B theme b Section B theme c Section B theme D
Phrase
Structure

Tempo
120bpm 120bpm 120bpm
Dynamics
f mf < f f <ff ff >mf mf < f
Meter/Rhythm

Tonality
c minor c minor c minor
Harmonic PA H
Motion HC C HC C HC PAC
Orchestration tpt, horn, sax woodwind
oboe, alto sax added to mel call response full orchestration
General powerful, mysterious, triumphant, flowing, freeing,
Character determined, passionate theexcited,
trumpet triumphant
the triumphant, graceful, freeing
Means for the second half finally call creates a woodwind
Expressio arrives to a more stable triumphant response have arrived with full
n position feel sets us free orchestration!
Conducting
Concerns
bring out the accents and
conduct the music! cue trumpets
make sure cue woodwinds don’t speed up!
Rehearsal
bring out the accents and tone in
Consideration
play the line! Be the trumpets is ww rhythm set up where to breathe, tune
dragon good and notes chords.

Composition __The Dragon Prince__

Composer __Rick Kirby__
Measure # 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100
Page 4
Form
Section B theme e (intro theme) Section B theme e' (intro theme) Dead measures
Phrase
Structure

Tempo
120bpm 120bpm
Dynamics
sub mp mf p < < f
Meter/Rhythm

Tonality
Eb Major Eb Major
Harmonic
Motion IAC IAC IAC PAC
Orchestration
ww melody tpt, clar, fl add fanfare to mel
General
Character stately, graceful, freeing, triumphant stately, graceful, freeing, triumphant
Means for
Expressio The half notes carry more weight the half notes carry weight and
n and give lilt give lilt
Conducting
Concerns

give more emphasis to half notes cue trumpet fanfare subdivide

Composition __The Dragon Prince__
Composer __Rick Kirby__
Measure # 101 102 103 104 ## 106 107 108 109 ## 111 112 ## 114 ## 116 117 118 119 120 121 122 123 124

Form
Section B theme b Section B theme b Section B theme c
Phrase
Structure

Tempo
120bpm 120bpm 120bpm
Dynamics double
forte! Forte! f f < ff
Meter/Rhythm

Tonality
C minor c minor c minor
Harmonic PA PA
Motion HC C HC C HC PAC
Orchestration
full orchestration full orchestration tpt, horn, sax call ww response
General powerful, mysterious, powerful, mysterious, triumphant, graceful, proud,
Character determined, passionate determined, passionate the proud
trumpet freeing
Means for the second half finally the second half finally call creates a the woodwind
Expressio arrives to a more stable arrives to a more stable triumphant response sets us
n position position feel free
Conducting
Concerns
bring out the accents and bring out the accents and
conduct the music! conduct the music! cue trumpets
make sure cue woodwinds
Rehearsal
bring out the accents and bring out the accents and tone in
Consideration
play the line! Be the play the line! Be the trumpets is ww rhythm and
dragon dragon good notes

Composition __The Dragon Prince__

Composer __Rick Kirby__
Measure # ## 126 ## ## 129 ## 131 132 133 134 135 136 137 138 139 140 141 ## ## 144 145 146 147 148 149 150

Form Page 6
Section B theme d Section B theme b Section B theme a
Phrase
Structure

Tempo
120bpm 120bpm 120bpm
Dynamics m m
ff f > > p p > > pp
Meter/Rhythm

Tonality
c minor c minor c minor
Harmonic IA IA
Motion HC C HC C No harmonic motion, ostinato
Orchestration menacing
full orchestration low brass bssn, b. sax, euph mel fl and clar ostinato cl ostinato
mysterious,
General menaci powerful, mysterious, mysterious, otherworldly,
Character triumphant, graceful, freeing ng determined, passionate determined, determined
Means for lows
the second half finally clar ostinato flute ostinato
come
Expressio have arrived with full arrives to a more stable adds adds
in with
 Composition __The Dragon Prince__
Composer __Rick Kirby__
Measure # 151 152 153 154 155 156 157 158 159 160 161 162 163

Form dea
d coda
Phrase
Structure

Tempo
120bpm
Dynamics
ff < sfp < ff
Meter/Rhythm

Tonality
c minor
Harmonic
Motion i chord V chord i chord
Orchestration
full orchestration. Horn calls. Timpani.
General
Character triumphant, strong, proud, excited, stately, fanfare
Means for
Expressio the full orchestration has a finality to it not seen
n before
Conducting
Concerns

HUGE PATTERN cue horns cutoff

Rehearsal
Consideration
practice horn end
work tuning and tone rips together

RESOURCES

Page 8
Suggested Listening:

The Legend of Tizona-Rick Kirby

He’s Gone Away-Rick Kirby

Three Colonial Movements-Rick Kirby

 Camelot Overture- Fredrick Loewe

The Rites of Tamboro- Robert W. Smith

All listening resources were gathered from youtube.com: The Dragon Prince

Piece Info: www.halleonard.com/product/viewproduct.action?itemid=4004600&

Background on the fairy tale: http://www.draconika.com/legends/dragon-prince.php

Composer Info: https://www.halleonard.com/biographyDisplay.do?id=396&subsiteid=1

An 1840 painting by Jean Baptiste Mauzaisse depicting the Court of Eleanor of Aquitaine in the
Middle Ages.
Illustration from Melanie Rawn’s novel, The Dragon Prince

WARM UP GUIDE
OBJECTIVE:
Students will apply the melodic, harmonic, and rhythmic concepts from their warm up/practice
guide to the rehearsal and performance of the piece.
o 2: performing on instruments, alone and with others, a varied repertoire of music
o 5: reading and notating music

EXERCISE 1: BREATHING
Start a backing track. Without instruments, breathe in (completely, really filling up your lungs)
for 8, out (completely out) for 8. Each repeat of this exercise, subtract 2 from breathing in and
add 2 to breathing out. Complete the same exercise with instruments on a concert Eb for the
“breathing out”. “How does our tone sound? Could we use more focused air? Depending on your
instrument, could you use faster, colder air, or slower, warmer air to achieve better tone?”
Repeat the same exercise without instruments, each repeat of the exercise add 2 to breathing in
and subtract 2 to breathing out (inverse exercise). Repeat the exercise on instruments as above.
Transition to rehearsal or another warm up by repeating the first exercise until you breathe in 2
and on breathing out, play the other warm up or excerpt from the music itself.

EXERCISE 2: RHYTHM, ARTICULATION

To begin, clap, sizzle, and sizzle and finger the rhythm sheet with accurate rhythm, steady pulse,
good vertical alignment, and clean attacks and releases. Finally, play the sections of the rhythm
sheet on a concert Eb major or C minor (depending on what section of the piece you will be
rehearsing that day) and apply a measure or series of measures to your scale.
This exercise can be added to by highlighting the articulation for each excerpt. Address legato
tonguing as “lightly breaking the airstream for the smallest amount of time possible” and bring
up the visual of the rest of these articulations on the board:

A transition from this exercise to rehearsal is to ask students “Where can you find these
rhythms/keys/articulations in our music?” and use their answer to start rehearsal, capitalizing on
“how can we use what we practiced in this warm up to improve our piece?”

EXERCISE 3: METER/ACCENT CHANGES

To begin, put instruments safely aside and complete the following movement conducting activity
to truly “feel” the transitions from duple to triple meter and back by rote. For a triple meter
measure, students will wave their dominant hand in a large circle, returning to “big beats” at the
ictus of their conducting gesture. Beat 1 will be at the ictus always, beat 2 and 3 will fill out the
top of the circle. For duple meter, students will conduct a 2/4 pattern straight up and down in an
“I” formation. Big beat 1 will be at the ictus, beat two will be at the top of the “I”. Once
everyone has the conducting patterns clearly established, the teacher will add the backing track
emphasizing eighth notes in no meter and give the class direction such as “3 beats of triple meter
and 2 beats of duple meter” and the students and teacher would perform these motions using
conducting.
With the backing track still on, transition by pulling up the rhythm meter changes exercises to
clap, sizzle, and sizzle and finger with accurate rhythm, steady pulse, an emphasis on accenting
the big beat, good vertical alignment, and clean attacks and releases. Finally, play the sections of
the rhythm meter changes sheet on a concert Eb or Cm chord (depending on what section of the
piece you will be rehearsing that day) and apply a measure or series of measures to your scale.
A transition from this exercise to rehearsal is to ask students “Where can you find these
transitions of meter in our music?” and use their answer to start rehearsal, capitalizing on “how
can we use what we practiced in this warm up to improve our piece?”

EXERCISE 4 : MELODY
To begin, clap, sizzle, and sizzle and finger the melodic line as a class. Emphasize accurate
rhythm, steady pulse, an emphasis on accenting the big beat, good vertical alignment, and clean
attacks and releases.
A transition from this exercise to rehearsal is to ask students “Where can you find these
rhythms/keys/articulations in our music?” and use their answer to start rehearsal, capitalizing on
“how can we use what we practiced in this warm up to improve our piece?”
EXERCISE 5 : HARMONY, FORM, PHRASING
To begin, pass out the parts to this arrangement of Grieg’s “Ase’s Death” from Peer Gynt.
http://musicforuse.net/marching/chorales-exercises/ (this piece is Public Domain, don’t worry)
Although this chorale is not in the same key as our piece, concepts such as tuning minor chords,
vertical alignment in shaping chords, phrasing independently as instrument families, and control
and deliberate placement of extreme dynamics is crucial. Play the piece, give constructive
feedback relating to dynamics and musicality. Play the piece again, singing any chords that may
be out of tune to fully grasp the pitches required.
To transition, “pull up the piece in your folders that is the most like the warm up we just played.
Tell your neighbor your rationale behind pulling that piece” (The Dragon Prince). “How can we
apply the musicality, phrasing, and tuning to The Dragon Prince?”

Exercise 2 Excerpts:

Exercise 3 Excerpt:

Exercise 4 Excerpts:
 ACTIVITY 1: MELODY

OBJECTIVES:
Students will recognize when other players have the melody/more important part and play under
and defer to the more important line.
o 6: Listening to, analyzing, and describing music
Students will assess and evaluate their own performance recording using higher-order thinking.
o 7: evaluate music and music performances
o 6: listen to, analyze, describe music
Students will discover how texture and timbre are used to enhance the overall musical effect of
this piece.
o 7: Evaluating music and music performances
o 8: Understanding relationships between music, other arts, and disciplines outside the arts

PURPOSE:
The purpose of this activity is for students to identify and discover the melody line in every
phrase of the piece. Students will also identify points of high energy and transitions in the piece.

ACTIVITY:
Students will listen to the professional recording of the piece (see “resources” for link to
recording) several times through and identify which section(s) have the melody at every major
rehearsal marking. The students will also discover points of high energy, tempo changes, and
other transitions in the piece with guidance. This activity takes place after sight reading the piece
and running a few “big picture” rehearsals, so the students should be comfortable with the piece.
We will then listen to the piece played from a recording of our own band and share thoughts and
opinions of what we did well, where we could highlight the melody more, and where we could
highlight transitions and points of impact. The worksheet is provided on the following page.

ASSESSMENT:

Table 1 1 point 2 points Score

Sections 1-10 Provides an Answer Provides correct answer

Table 2 1 point 2 points 3 points Score

Sections 1-10 Provides an Provides a 1- Provides a 1-
incomplete sentence answer sentence answer
answer on paper and participates
in class
discussion for at
least 1 answer.

Listening Activity-The Dragon Prince

Name: _______Answer Key___________ Instrument: ____________________ Date:________

Directions: Listen to The Dragon Prince and fill in the following table. Who has the melody or
most important line in each of the sections listed? Even if you can’t name a specific instrument,
give an instrument family or section. Even if you’re not sure about a portion of the table, give
your best answer!
Measure Melody Instrument/Family
1 Flutes, ww
21 High brass/ww
33 Marimba/perc
51 Low reeds
67 High brass/saxophone
75 All
83 WW
91 High brass
101 Brass, saxophone
 135 Equal low reed to clarinet
157 Horn, clarinet, alto sax
Part 2: Listen to our recording of The Dragon Prince and fill in the following table. Write one
sentence describing what your instrument family could do better in each of the sections listed, or
something the ensemble as a whole could do better in the sections listed. During the class
discussion following this listening activity, share one of your sentences or thoughts of at least
one of the sections listed.
Measure Improvements your instrument family can make
1
21
33
51
67
75
83
91
101
135
157
ACTIVITY #2: MOVEMENT
OBJECTIVE:
Students will discover and identify phrase shapes in the piece and apply their knowledge to their
dynamic phrasing.
o 2: performing on instruments, alone and with others, a varied repertoire of music
o 5: reading and notating music
o 6: listen to, analyze, describe music
Students will recognize when other players have the melody/more important part and play under
and defer to the more important line.
o 6: Listening to, analyzing, and describing music

PURPOSE: The purpose of this activity is for the students to pinpoint dynamic markings and
articulation markings in their music notation and execute movements based on these musical
concepts in time with the piece. The students will not only recognize what musicality is required
for this piece; they will understand how their part fits with the whole
ACTIVITY:
Students will put their instruments aside safely and sing their parts starting at measure, ending at
measure. Students will then act out the dynamic and articulatory markings in their notation in the
following way:
  Whenever they have a forte dynamic marking, stand while singing
 Whenever they have a piano dynamic marking, sit while singing
 If there is a crescendo or decrescendo, a student will gradually rise/lower themselves
 If there is a staccato marking over a note, a student will hop lightly
 If there is a marcato marking over a note, a student will stomp their foot
 If there is a phrasing mark, such as a slur, a student will sway their body
Transition between the movement activity and playing this section with more full and present
articulations and dynamics. 5 minutes before class ends, they will be handed exit tickets:

Evaluate your playing before and after completing the movement activity. What improved?
What still needs improvement?

Describe one way your instrument family interacts with another group of instruments
through dynamics or articulation in this piece.

ASSESSMENT:
Students will be assessed on their energetic participation in the activity, receiving a full 20 points
by completing the movement task and thinking critically about their dynamics and articulations.
Exit Ticket 5 points 10 points Score
Questions 1, 2 Provides incomplete Provides thoughtful
____/10
answer answer

ACTIVITY #3: HISTORICAL

OBJECTIVE:
Students will make cross-curricular connections between music and literature through historical
texts of myths, fables, and fairy tales.
o 8: Understanding relationships between music, other arts, and disciplines outside the arts
o 9: Understanding music in relation to history and culture
Students will use non-musical adjectives to describe each section of the piece.
o 8: Understanding relationships between music, other arts, and disciplines outside the arts
Students will discover and identify phrase shapes in the piece and apply their knowledge to their
dynamic phrasing.
o 2: performing on instruments, alone and with others, a varied repertoire of music
o 5: reading and notating music
o 6: listen to, analyze, describe music
PURPOSE:
The purpose of this assignment is to expand students’ analytical thinking using cross-curricular
means, connect imagery to the performance of music, and expand students’ imaginations and
control over their instruments to create specific musical effects.
ACTIVITY:
In groups, students will research how to differentiate between fables, myths, and fairy tales and
complete the venn diagram by comparing and contrasting these types of stories (worksheet on
next page). Students will then use their knowledge to classify the story behind the piece, The
Dragon Prince. In groups, students will read (story can be found in “resources”), discuss, and
explain in their own words the story behind the piece in outline form, with the most important
events listed in chronological order according to the story. Guided by the teacher at the front of
the class, students as a class will draw connections between the story and the piece of music and
assign events in the story to measure markings in their music notation. The ensemble will then
play each section of the piece, making adjustments/creating new events to the story as needed by
the music notation and overall feel of the piece. The class will discuss how the events in the story
can inform our musical decisions in the piece. As an exit ticket before class ends, students will
create an alternate ending to the story that incorporates the other two story categories in the venn
diagram. Students will hypothesize how this alternate ending might affect the end of the piece.
ASSESSMENT:

Venn Diagram 1 point 2 points 1 point Score

Each portion of Partially Two complete Correct
diagram (7 completed comparisons/contrasts answer to
_____/15
sections) section classifying
the story

The outline on the back of the worksheet will be peer-assessed and self-assessed in class.
Teacher assessments will happen periodically during group work to stay on task. Teacher and
student, peer, and participation assessments will make up the rest of the lesson in working
together as a class to assign events to the music notation.
Exit Ticket 2 points 5 points Score
Student creates Student creates ______/5
alternate ending for alternate ending for
either fairy tale or the both fairy tale and
musical idea to end musical idea to end
the piece. the piece
Historical Activity-The Dragon Prince

Name: ____Answer Key_________________________ Instrument: __________________ Date:

_______

Directions: Complete the venn diagram by comparing and contrasting the terms, their meaning,
the history behind each term, etc. Each area of the diagram should have at least two points of
caparison/contrast. You may use your school issued iPad to work in small groups no larger than
4 people.

Fairy Tale

Evil person involved

Has magic
 Usually short Make
Story is passed believe
down Happened Myth
Fable long ago

Two-three Gives reason for

characters events
Moral to the Lessons good Involves gods
story and bad
behavior

Read the excerpt of The Dragon Prince. Which of these three kinds of stories does The Dragon
Prince fall under?

Fairy tale

On the other side of this worksheet, list the major plot points of the story in chronological order.
We will use these plot points in transitioning back to our music.

Answer Key

Brainstorm and create an alternate ending for The Dragon Prince story (hint: if you
struggle, think of how the story could become a fable or myth just by its ending)

Fable: story ends with a moral learned

Myth: story is framed on how something came about in the world

How could this alternate ending be portrayed using music? How would the piece end
differently?

Up to student interpretation
 ACTIVITY #4: CREATING USING MELODY, HARMONY, RHYTHM

OBJECTIVE:
Students will create an 8 bar composition using their instruments and Garage Band.
o 4: Composing and arranging music within specified guidelines
o 3: Improvising melodies, variations, and accompaniment
Students will discover how texture and timbre are used to enhance the overall musical effect of
this piece.
o 7: Evaluating music and music performances
o 8: Understanding relationships between music, other arts, and disciplines outside the arts
Students will use non-musical adjectives to describe each section of the piece.
 o 8: Understanding relationships between music, other arts, and disciplines outside the arts
Students will make cross-curricular connections between music and literature through historical
texts of myths, fables, and fairy tales.
o 8: Understanding relationships between music, other arts, and disciplines outside the arts
o 9: Understanding music in relation to history and culture

PURPOSE:
The purpose of this activity is to expand students’ creativity and musical thinking by a first
attempt at writing music. Students will learn to explore their musical creativity and integrate
technology into their learning.

ACTIVITY:
The students will compose a new 8 measure ending to the piece, The Dragon Prince. It must
begin in C minor but can end in a different key, I don’t want to limit creativity! The only
stipulation is that the composition must have at least two parts: a melody and a harmonic part
such as a bass line or descant. Students can maintain the bassline or their own instrument part
from The Dragon Prince, but either the melody or harmonic motion needs to be of their own
creation. They can choose to write the music and play it on instruments using the recording
feature, record one instrument for the piece and add garage band instruments for the second part,
or create the full composition using garage band midi instruments and backing tracks.

ASSESSMENT:
This might be the students’ first look at music composition and integrating Garage Band in their
music learning, so I will be very gracious and encouraging in my grading. The grades will
depend on completing a checklist of everything needed in the composition as well as a rating
scale on specific concepts that need more attention:

Checklist:
Composition starts in C minor-5 pts
Composition starts in 6/8 time-5pts
Rhythms are characteristic to the time signature chosen-5pts
Composition uses Garage Band-5pts
Recording is presented on time and played for the class on designated day-5pts

Rating Scale/Rubric:
2 points 3 points 4 points 5 points Score
2 distinct parts At least one line One line, either A melody and A melody and
is presented for melody or harmony are harmony are
most of the harmony, is presentable at all presented at all
composition presented times, times,
throughout sometimes distinguishable
indistinguishable from one
or too similar to another
each other
 Length At least two At least four At least 6 All 8 measures
measures measures measures
completed completed completed
Rhythm Rhythms are Rhythms are Rhythms are Rhythms are
incomplete but complete but characteristic to musical and
started lack a time the time characteristic to
signature feel signature the piece and
time signature
chosen

ACTIVITY #5: HARMONY

OBJECTIVE:
Students will apply the melodic, harmonic, and rhythmic concepts they’ve learned to the
rehearsal and performance of the piece.
o 2: performing on instruments, alone and with others, a varied repertoire of music
 o 5: reading and notating music
Students will recognize how their melodic or harmonic line fits in with the rest of the
orchestration.
o 6: Listening to, analyzing, and describing music

PURPOSE:
This is a basic introduction to roman numeral analysis and helps you discover what part of a
chord you are functioning as. By learning how chords are voiced, you can better understand
tuning procedures and balance.

ACTIVITY:
Students will work in groups with members from every section in the band. Next, each team will
select an 8 bar section of the music to analyze together. Each team member will write the solfege
for the big beats in their part and use their group members to complete a roman numeral analysis
of the 8 bar section. Groups will present their analysis at the end of class while students and the
teacher discuss and correct any errors.

ASSESSMENT:
Since even basic Roman Numeral Analysis is advanced for young musicians, all assessment will
happen in class through peer and teacher assessment. The teacher will be very involved in the
group work, traveling around to all groups and making sure everyone is successful with the
activity. Grades for this assignment will be based solely on completion and participation in the
group discussions.

Harmonic Activity-The Dragon Prince

Names: ________________________ Date________________

_______________________________

_______________________________

_______________________________

Directions: Select 8 measures of The Dragon Prince to analyze with your group. Each member
writes in the solfege underneath their music: only pay attention to the big beats in the music
(quarter notes in duple meter and dotted quarters in triple meter).

Fill out the chord chart below with your solfege by establishing the root and the fifth from
comparing solfege with your group members. Then identify the third and 7th tone from there. Use
the chart to determine the chords for your selection.

What measures are you analyzing? ______________

Measure Measure Measure Measure Measure Measure Measure Measure

1 2 3 4 5 6 7 8

Root

Third

Fifth

Seventh

Chord

A DEEPER LOOK AT ASSESSMENT

Rubrics
A guide listing specific criteria for grading or scoring academic papers, projects, or tests.
A clear and objective way to state musical and technical criteria for often subjective musical tests
and projects such as playing tests, performance grades, and other projects.

Rubrics for playing tests will be given with the music the playing test will be over, around three
weeks before the test. Students will be expected to refer to the rubric as a guide for their practice.
Rubrics will also be given to students at the class period they are introduced for other projects
such as a presentation of the history of a piece or a small ensemble arranging project.

https://docs.google.com/spreadsheets/d/15SXoh35BWwcCL8eh2wYCt-
C6N5NrD2_KAL_qlkT5NL8/edit?ts=5bbf4880#gid=0

Rating Scales
A rating scale is a set of categories designed to elicit information about a qualitative attribute.
Rating scales are necessary in a music classroom for self and group assessment of their
technique, musicality, and overall musical experience.

Rating scales will be implemented sometimes alongside rubrics for clarity of group or self
assessment. Students need to think deeply about how they are playing in the moment as well as
listening to recordings of themselves and others, and rating scales are an effective way to start
the deep thinking process.

https://www.researchgate.net/figure/18-item-4-factor-Jazz-Big-Band-Performance-Rating-
Scale_tbl2_276370639

Journals/Reflection
Serious thought and consideration is expressed and shown in written record, daily.
In the music classroom, subjective material thinking outside the box of a rubric or rating scale
needs to be encouraged because so much of true music making cannot be categorized or graded
on. This journal would keep students thinking expressively and deliberately about their music
making and how they contribute to the whole.

At the end of each rehearsal students are given a few minutes to reflect on the rehearsal. This
could be in the form of a notebook or portfolio to document what students saw or head during
that rehearsal, as well as their feelings about rehearsal. This daily reflection could be formatted
as a grading scale in different areas of rehearsal such as individual or ensemble playing,
productivity, and behavior with space for rationale, or a series of questions such as “What are
some areas of concern that we/I could improve on for next rehearsal?”, or as a free-write.

Example of a journal prompt: “How can what we learned in class today translate to our daily life
outside of band class?”

Check Lists
A list of items required, things to be done, or points to be considered, used as a reminder.
Check lists are needed for the quantifiable needs in a music classroom. What to wear for a
performance, what to bring to rehearsal, and practice excerpt tasks are all needed in a classroom
to get everyone on the same page.
Check lists will be given before the first rehearsal and all performances to make sure every
member knows the expectations of attire, preparedness, and timeliness. Check lists will also be
given through excerpts to practice on a weekly basis and turn in recordings of progress on the
excerpts. Failure to meet every mark on a checklist results in a percentage of that grade taken off.

Example from a marching band handbook:

REHEARSAL EXPECTATIONS
1. Each student is expected to be responsible and bring your instrument (unless it’s in for
repairs), instruments maintenance accessories, pencil, drill and music for each rehearsal.
2. Talking will not be allowed on the field while the director is giving instruction. If a
section is being addressed, it is expected for those section members to raise their hand
showing that they are listening.
3. All of the students’ music should be marked with drill sets.
4. Students should arrive to rehearsal early so they can be stretched and ready to start
rehearsal right when the bell rings.

Written Tests/Exams
Although a written test is not a part of this unit, formal assessment of theory, history, and overall
musical knowledge is best assessed using written examinations in the form of short answers or
multiple choice questions depending on the kind of comprehension that is being assessed.

Written exams will be given once a semester (after the third or fourth unit) over the concepts
learned in the previous two concert blocks. There will be multiple choice questions over history
over the pieces, short answer questions pertaining to music theory learned in the semester, and
extended questions about performance and listening.

https://www.proprofs.com/quiz-school/story.php?title=nji5nze01wxk

In-class Discussion/Feedback Participation

Student participation during class and rehearsals are a good indicator of student engagement and
understanding. This form of informal assessment is most effective when questions are designed
in a way that prompt students to access specific information or a particular skill.

In-class feedback will be prompted during every rehearsal, possibly every time the band stops to
fix something. The quality of responses across the ensemble or class can give information about
topics or objectives that might need to be reviewed. Participation in class will be noted in a
“student participated” “student didn’t participate” on a daily basis as a part of their attendance
grade.

Example:
Opening question has a limited number of answers to get the students talking. “Did we rush or
drag during this section?
Following questions build on the opening question to facilitate deeper thinking. “What do we
need to do technically on our instrument to stop rushing in this section? What can we do
musically? What notes are being rushed? Which instruments are rushing?

Performance Observation
Students will observe and listen to various pieces by other groups and evaluate what they hear.
They will do the same for the recording of their own concert.
Performance observation is crucial in a music classroom to identify weaknesses and strengths in
a performance or ensemble to continue to work and improve on those weaknesses and strengths.

The day after a concert, the ensemble sits in their normal chairs but without instruments. They
are given rubrics and open-ended questions about the performance, including strengths and
weaknesses they see in the group that could be identified in their listening. A similar listening
activity might happen before we start work on a piece by listening to another group that has
played it.

Example: see “journal”, “rubric”, and “In-class discussion”

Self and Peer Assessment

Assessment or evaluation of oneself or one's actions, in particular, of one's performance at a job
or learning task considered in relation to an objective standard. Assessment of neighbor’s actions
or performance at a learning task.
Self and peer assessment are crucial to a music classroom because without this type of
assessment, teachers struggle to develop students that can think for themselves and be proactive
in their music making.
Through the use of all other assessment tools, self and peer assessment should come second
nature to the students in every second of band class. If I’ve set the students up with an active role
in the music making decisions, an active role in giving feedback in class on what they hear, and
an active role in assessing others through listening examples and rubrics, the students should
think more critically about their music making at every rehearsal.

Example: Self assessment can be seen in all other assessment tools. The only difference is, the
teacher is not assessing for a grade. Rather, the student is assessing for themselves what they can
do to further the group and further themselves in their musical journey.
 GLOSSARY

Articulation-how a note is played, based on the beginning, middle, and end of the note. Ex:
staccato, marcato, legato
Duple meter-a musical meter characterized by a primary division of two sub-beats to one beat.
Fables- are stories that are passed down, with a good lesson to be learned, and are about animals,
plants, or forces of nature that are humanlike.
Fairy tales- are stories that are specifically for kids, involve magical characters, have good and
evil characters, and generally start with “once upon a time.”
Form-overall structure or plan of the piece
Harmony-the sounding of two or musical notes at the same time
Legato-smoothly, with no breaks in between
Melody-a sequence of single notes; the principle part in harmonized music
Myths- are stories that are passed down about how or why something came to be.
Range-distance from lowest to highest note
Programmatic work-a piece of music where the overall effect and imagery tells a story or
relates to an idea
Texture-how the melodic, harmonic, and rhythmic elements are combined, determining the
quality of sound of a piece
Triple meter-a musical meter characterized by a primary division of three sub-beats to one beat.